LB 

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MIDWAY READERS 

TEACHERS HANDBOOK 




LAIDLAW BROTHERS 

Incorporated 

CHICAGO - - NEW YORK 



MIDWAY READERS 



TEACHERS HANDBOOK 



BY 

SOPHIA A. MILLER 

TEACHER, NEW YORK CITY 

AND 

JAMES L. HUGHES, LL. D. 

FORMER CHIEF INSPECTOR OF SCHOOLS, TORONTO ; AUTHOR OF "TEACHING 
TO READ," "TRAINING THE CHILDREN," "MISTAKES IN TEACH- 
ING," "DICKENS AS AN EDUCATOR," ETC. 




LAIDLAW BROTHERS 

Incorporated 
CHICAGO NEW YORK 

1921 







Copyright, 1921 

By 

LAIDLAW BROTHERS 

Incorporated 



IEL 27 



g)Gl.A653905 



"W^ 



CONTENTS 

PART I 
General Discussion 

page 

Reading and Reading Aloud 5 

Overcoming Speech Defects 20 

Literature in the Intermediate Grades 24 

PART II 
The Midway Readers and How to Use Them 

Ethical Significance of the Midway Readers 29 

How the Midway Readers Should Be Used . . 37 

Developing Literary Appreciation Through the Midway Readers 41 

A Plan for the Stories 45 

Dramatic Composition Based on Stories 50 

The Use of Tests in the Midway Readers 54 

PART III 
Lesson Plans 

Introductory Statement 57 

Lesson Plans — Book One 

In the Heart of the Forest 59 

At the Palace Gates 61 

The Choice 62 

In the Snow 64 

Under the Oak Tree 65 

The New Partner 66 

The Broken Promise 67 

Light in the Darkness 69 

The Gold Ring 70 

3 



4 CONTENTS 

Lesson Plans — Book Two Page 

In the Service of the King 72 

The Basket of Flowers 74 

Over the Sea 75 

Comrades 77 

The Message 78 

To the Rescue 80 

The Ruined Castle 81 

The Midnight Hour 82 

Lesson Plans — Book Three 

After Long Years 84 

The Captive .85 

The Artist's Masterpiece 87 

The Vineyard on the Hillside 88 

The Damaged Picture 90 

Memories Awakened 91 

The Inheritance 92 

How It Happened 93 

From Royal Palace to Lowly Hut 95 

The Ugly Trinket 96 

Models for Dramatic Composition 

Book One— The Choice Page 75 98 

Book Two— The Midnight Hour. .Page 201 107 

Book Three — The Inheritance Page 149 US 

Directions for Conducting a Test 125 

Test Lesson— Book One 126 

Test Lesson — Book Two 127 

Test Lesson — Book Three 128 



TEACHERS HANDBOOK 

FOR USE WITH THE 

MIDWAY READERS 



PART I 

GENERAL DISCUSSION 

READING AND READING ALOUD 

There is no more unreasonable school method than trying 
to teach children to read by making them read aloud. In 
order to decide the proper method of teaching children to 
read, it is first essential to recognize clearly the difference 
between the processes of the mind in reading silently, and 
in reading aloud; between reading to gain quickly and 
definitely the meaning of the printed matter to be read, 
and reading the same matter aloud. 

Reading is really the process of taking into our mind* 
the thought recorded in visible language. Reading aloud 
is a compound process of first recognizing the thought in 
the visible language, and then trying to express that 
thought, not in our own language, but in the language of 
the author of the selection. 

If the purpose in teaching reading were merely to train 
the children to read aloud, it is impossible to believe that 
educators would have wasted the time of the children by 
teaching reading at all. The reason children should be 
taught to read is, not that they may devote their spare 
time to reading aloud, but to read silently the books written 
by the great revealers of the past of human progress, and 
human thought. Why then did educators in early days 
try to teach reading — real reading — by the process of read- 
ing aloud ? 



6 TEACHERS HANDBOOK 

1. Because until recently it was believed to be impos- 
sible to teach reading at all, unless the learners read aloud. 

2. Because even those teachers who did think, believed 
that they must hear children read aloud in order to know 
whether they understood clearly what they read. 

3. Because educators thought that they could develop 
the power of self-expression by training the children to 
express the thought of the authors clearly and forcefully 
in oral reading. 

4. Because children should be able to read aloud for 
the entertainment and instruction of their families at 
home. 

5. Because by reading aloud it was believed a few men 
and women might become public readers, or actors, or 
actresses. 

Let us consider these reasons. 

1. In the illogical methods of teaching word recogni- 
tion with either the alphabetic or the word ("look and 
say") method, reading aloud was an essential part of the 
process of teaching children to understand visible lan- 
guage; because teachers did not recognize the vital dis- 
tinction between reading and reading aloud, the illogical 
practice continued ; so because reading aloud was practiced 
long ago, it was continued without thinking whether it was 
logical or not. 

Education should be a progressive science. To accept 
thoughtlessly any so-called principle or any teaching 
process, because it has been accepted or practiced before 
our time, is not in harmony with the fundamental ideal 
that education is a progressive science. If all our pred- 
ecessors had acted on such a plan, there never could have 
been any advancement made in educational thought or 
practice. Every teacher should try to be a reformer — a 



READING AND HEADING ALOUD 7 

revealer of new ideals — not a mere imitator. No teacher 
who is an imitator and who is satisfied with training his 
pupils to be imitators and acceptors, instead of training 
them to become independent thinkers, can be of great value 
to humanity. He should aim to be a reformer. The 
Source of all new ideals never makes the mistake of giving 
visions to a mere imitator. Every really vital teacher 
encourages original and independent thinking on the part 
of his pupils; and regards the fearless expression of an 
independent thought as of much higher educational value 
than a correct statement of a fact, or of an opinion learned 
from a teacher or a book. 

To accept the methods of the past passively as good 
enough for the present is unworthy of a being created in 
the image of the Divine. FroebePs definition of education 
is "a conscious growth towards the Divine." This is an 
illuminating definition. Passive acceptance of the past 
prevents progress towards higher visions and wiser prac- 
tices. The man who is striving to discover better methods 
is worthy of new visions, and he will get them. 

2. Those who think that they must hear their pupils 
read aloud in order to know whether they understand what 
they read, are thinkers, but they are too easily satisfied. It 
is absolutely impossible to tell what clear ideas a pupil has 
received from what he has read by hearing him tell what 
he has learned only in the words of the author. It is very 
important that the teacher should know how fully and how 
clearly each pupil understands the author's meaning, but 
the poorest possible method of finding out what the pupil 
has learned from a passage, is to hear him read aloud the 
words of the author. The only way a teacher can definitely 
test the understanding by his pupils of the author's revela- 
tions is to have them read a selection silently, and then 



8 TEACHERS HANDBOOK 

tell what they learned from the passage in their own 
language orally or in writing — mainly orally. 

Reading is getting thought from print or script. The 
power of doing this rapidly, definitely and comprehensively, 
is the only sure foundation for good reading either silently 
or orally. The development of this power is interfered 
with by reading aloud. Pupils should be able to read 
rapidly, and to read well before they are asked to read 
aloud. Premature reading aloud interferes with the de- 
velopment of the power of reading rapidly and well; and, 
therefore, silent reading is the only way to develop good 
oral reading. The longer a child is delayed in making an 
effort to read aloud the better; the greater his ultimate 
success will be in reading aloud. 

3. Those who believe they can train a child to express 
his own original thought orally in his own language by 
training him to express the thoughts of authors in the 
language of authors, think illogically. The psychological 
process of a pupil in expressing his own thought orally in 
his own language is directly opposite to the process of 
expressing the author's thought in the author's language 
in reading aloud. When he expresses his own thought in 
his own language aloud, the thought suggests the words; 
when he reads aloud, the words suggest the thought — so 
so far as any thought is suggested. Often when reading 
aloud, especially when reading poetry, the reader in school 
is merely recognizing the words, and repeating them in a 
somewhat rhythmical way. 

So far as any thought is suggested to the mind of a 
pupil who is reading aloud new matter at sight, the words 
must suggest the thought; when he is expressing his own 
thought, the thought suggests the words. Impromptu 
speaking is a natural process, often dwarfed by oral read- 



READING AND READING ALOUD 9 

ing; reading is not a natural process either silently or 
aloud. A natural process practiced properly may become 
a good preparation for the successful practice of a process 
that is not natural, but it is not true that an unnatural 
process should be made the basis of a natural process of 
an opposite character. The best preparation a pupil can 
have for correct and impressive oral expression of an 
author's thought in the language of the author, is long 
experience in free expression of his own thought in his own 
language. This is a natural process for developing his 
mind definitely, comprehensively and permanently — the 
best yet revealed — and at the same time, of developing his 
powers of expression and of impression by emphasis, tone, 
inflection, delivery and all the good elements in oral reading 
and dramatic expression. Self-expression is a natural 
power, and is the proper basis for good oral expression in 
expressing the thought of others in the language of the 
authors, but practice in oral reading does not lead to the 
development of the power of oral self-expression. Briefly 
expressed, oral self-expression develops the power of ex- 
pression, but training in expression by oral reading does 
not lead to good self-expression. 

4. Reading aloud in the home was long ago practiced 
for the edification and entertainment of the members of 
the household much more than is desirable or possible 
under modern conditions, so that this argument should 
now have little weight, even if reading aloud in school were 
a good process of making good oral readers. 

5. Self-expression is the only proper training for good 
public readers and actors — not reading aloud in school. 

In the past teachers have been satisfied when a small 
percentage of their pupils have been able to read a selection 
aloud fairly well, after reading it aloud many times and 



10 TEACHERS HANDBOOK 

receiving suggestions from the teacher. This is surely a 
most unsatisfactory result of long continued effort. 

Reading Poorly Taught. There is probably no other 
subject that has been taught so unsatisfactorily by good 
teachers as reading; no other subject in which so much 
time has been wasted — in many cases worse than wasted — 
by interest destroying processes. The efforts have resulted 
in little less than failure. The causes of failure are not 
difficult to discover. 

1. The pupils were called upon to read aloud before it 
was possible for them to do so properly; before their power 
to recognize words automatically at sight without conscious 
effort had been developed. Even if the true purpose of 
teaching reading were reading aloud, the reading aloud 
teaching of the past would make it impossible to success- 
fully achieve the desired purpose. Far more to be deplored 
than this, is the fact that it interfered with the develop- 
ment of the child's natural powers of self-expression and 
with the cultivation of the power of real reading. 

All the processes of teaching oral reading in the past 
compelled the child to try to read aloud before he could 
recognize without conscious effort the words he was asked 
to read. He was asked to do three things at the same time : 
to recognize the words in the selection he was to read; to 
associate their meanings with them as individual words, 
and as related to each other in combinations ; and to read 
them aloud not as single words but as combined and related 
in phrases and sentences, and express that meaning in the 
words of the author. This is really a comprehensively 
difficult effort for a child, which may be summarized into 
three distinct departments — the recognition of the words, 
the recognition of the thought, and the expression of the 
thought — not in the language of the child, but in the 



READING AND READING ALOUD 11 

language of the author. Whatever may be the mental 
power of the child it is perfectly clear, that if any part of 
his mental power is required to recognize the words, the 
whole of his mental power can not be used to grasp the 
thought and express it effectively. 

2. Most methods of teaching primary reading, so called, 
are methods of teaching word recognition, not methods of 
teaching reading. The methods are methods of teaching 
children to recognize in visible form the words they already 
understand in oral form, as used in conversation. They 
should enable him to do this independently without prompt- 
ing by the teacher, and do it rapidly, ultimately without 
conscious effort. 

It is therefore of fundamental importance that the power 
of word recognition should be made automatic in order that 
it be performed without conscious effort, before the child is 
asked to make an effort to read aloud. Whatever the 
method of teaching word recognition, if the child be com- 
pelled to try to read aloud, before word recognition becomes 
automatic, proper reading aloud is impossible, and is 
dwarfing instead of developing in its influence on the child's 
natural powers of expression. 

3. The distressing efforts to drone the words in a 
sentence, one by one without logical association of their 
meanings which may still be heard in schools in which 
pupils are taught word recognition based on one mental 
power only, memory, represent one of the most illogical 
absurdities ever practiced in a school room. The unfor- 
tunate children are not to blame. They are the victims of 
an interest destroying process, which weakens the natural 
powers of self-expression. Not ten percent of the pupils 
in most schools either in cities or in rural districts succeed 
in reading aloud with well developed powers of expression 



12 TEACHERS HANDBOOK 

or of impression, and those who ever overcome the evil 
effects of the oral reading processes of their school years, 
overcome them by long special practice and repeated read- 
ings of the selections they have to read. The oral reading 
processes of the schools have failed to develop even good 
oral readers. Worse than this, they have prevented the 
development of the power of real reading — silent reading — 
which must be recognized as the reading power of greatest 
importance to humanity. 

Oral reading was never believed to be the chief reason 
for teaching reading. Centuries ago men knew that the 
supreme purpose of teaching reading was that people might 
be able to read books rapidly and definitely in order to 
learn the stores of thought they contained. The aim was 
always to make good readers, not good oral readers. Oral 
reading was practiced because men believed it was a neces- 
sary process in learning to read. This belief has no logical 
basis. Oral reading is a hindrance not a help in developing 
the power of reading. 

Oral Reading. Good oral reading should mean sure 
power in the children to read well at sight; power to 
recognize visible language as definitely as they naturally 
recognize spoken language, and to recognize its meaning 
and express it clearly and forcefully ; as clearly and force- 
fully as they express their own thoughts before they go to 
school. One of the worst effects of the oral reading methods 
is the weakening of the child's natural powers of expres- 
sion by compelling him to try to perform the impossible by 
reading aloud before he can recognize automatically the 
words he has to read, and their meaning as well. So long 
as the pupil's mind must devote itself mainly to recogniz- 
ing the words, and comprehending their meaning, reading 
aloud must be a failure. Failure is in itself a catastrophe, 



READING AND READING ALOUD 13 

% 

especially when the failure not only lessens his faith in 

himself, but also weakens some of the elemental powers of 

his mind. 

Oral reading should be the last step in teaching reading. 
It is in fact a distinct department that should not be taught 
until the pupils are quick and excellent readers. To develop 
a good silent reader into a good oral reader is a simple 
matter. Having been trained from the first to stand up 
and tell in his own language the meaning of what he has 
read silently, there is but one step to take in enabling him 
to express the same meaning exactly orally in the language 
of the author. He has achieved automatic mastery of the 
fundamental processes of reading, and now has merely to 
substitute the language of the author for his own language 
in expressing the thought. When the pupil has reached 
this stage of his development he may begin without injuring 
his natural powers of self-expression to receive specific 
lessons in the principles of expression. The time has come 
when self-expression of his own thought, both his own 
independent original thought, and the thought he obtains 
from printed matter which becomes his own thought, has 
prepared him for special culture of his power of expression 
without weakening his power of self-expression. Training 
should now be given in developing voice power and range, 
in cultivation of breathing power, in inflection, emphasis, 
and other departments of good expression; and in stimu- 
lating the natural tendency to use gesture as a means of 
expression. 

The pupil is now ready for such training, but it cannot 
be successfully made a part of an oral reading lesson. 
When he has been trained, as perfectly as he should have 
been to read silently, he has really developed to a high 
degree all these powers of expression, by years of practice 



14 TEACHERS HANDBOOK 

in free self-expression. He should, therefore, require very 
little of what may be called elocutionary training to enable 
him to express naturally, clearly and forcefully the meaning 
of the author in the author's language. This will be espe- 
cially true if the average pupil is not asked to read aloud 
until he is about twelve years old. 

Recitation should be made an intermediate stage between 
the natural process of self-expression and the attempt to 
read aloud at sight. When a pupil commits a recitation to 
memory he makes not only the author's words, but so far 
as he is capable of doing so, the author's thought his own, 
so that both the words and the thought of the author have 
become the pupil's own thought and his language in reality, 
though not in originality, so the difference between self- 
expression of original thought, and reciting, is not nearly 
so great as between self-expression and oral reading. 

Reading Naturally. One of the most absurd of all 
school processes in the past was the persistently imperious 
demand of the teachers "that the little ones should read 
naturally," when all the teachers' own methods were com- 
pelling the pupils to read unnaturally, and weakening their 
natural powers of self-expression. "Why don't you read as 
you speak ?" was the most unreasonable question ever asked 
regularly in school or in any other place. 

If pupils are taught word recognition by a logical process 
that is based on the principle of self-activity — not merely 
or mainly on memory — and therefore is naturally produc- 
tive of increased power, and if they are not allowed to try 
to read aloud, until they can read well silently, and if they 
have had long practice in getting the thought out of printed 
matter suitable for their changing stages of development, 
and then standing up and expressing the new thought in 
their own language which is a natural process; they will, 



READING AND READING ALOUD ' 15 

in perfect accordance with natural laws and fundamental 
principles, "read naturally." So long as natural laws are 
violated by asking pupils to do what is impossible in teach- 
ing reading, the world will have a very small percentage of 
good readers either silent or oral. 

Another reason for stopping the practice of trying to 
teach oral reading before pupils can read silently and get 
the thought from printed matter, is that correct principles 
of oral reading applied too soon actually prevent the devel- 
opment of the power of silent reading — the reading that 
every one must admit is the most important kind of reading. 

"Learn to read slow, all other graces 
Will follow in their proper places" 

is a wise rule in teaching oral reading. The aim of the 
teacher in training pupils to read silently is directly oppo- 
site to this. The best reader is the man who can get the 
thought from a new selection of printed matter most 
quickly. Given two men of equal ability one of whom has 
been trained to read well two pages, while the other can 
read but one ; the first has a great advantage. As a student 
he has twice as much power as the second. 

Use of Tests. When the pupils in the first grade 
have had considerable practice in word recognition the 
teacher may wisely begin time tests in silent reading. 
Typewritten or printed selections suitable for their stage 
of development, each one having the same selection, should 
be supplied. At a signal the selections are read, and at a 
second signal turned over again. The pupils should then 
be called upon to stand and tell in their own language the 
story or the facts they learned from the selection. The time 
allowed for reading the test lesson should be shortened as 
the power to read quickly, silently increases. This is a very 



16 TEACHERS HANDBOOK 

productive exercise in concentration, in silent reading, and 
in self-expression. By varying the process and allowing 
pupils to stand, as soon as ready, instead of waiting for the 
teacher's signal, -the teacher will be able to select the best 
readers for advancement to more difficult stages of time 
tests, which should be given in small classes, while the rest 
of the pupils should be occupied with some other work. In 
this way the more capable pupils will not be held back by 
the slower members of the class. Occasionally the pupils 
should be required to write answers to questions bringing 
out the important points of the selection being read. 

The practice of giving time tests in reading stimulates 
all pupils, both slow and rapid readers, and develops their 
interest in reading for pleasure. Publishers will some day 
issue a progressive system of small cards gradually growing 
larger, suitable for time tests in all grades. Sight reading 
should be the aim of all the teaching of reading. Sight 
reading by silent processes, not only develops the power of 
silent reading, but is the only sure basis for oral reading. 
A good silent reader becomes a good oral reader quickly by 
natural processes that develop other powers in addition to 
the power of oral expression. 

The Oral Reading" Recitation. The lack of wisdom 
in the plan of conducting an oral reading lesson in a class 
of forty, with one reading aloud, and thirty-nine listening, 
becomes more manifest the more we study its processes. 
Only one pupil can read at the same time (the old practice 
of reading aloud simultaneously has long been abandoned). 
It cannot be a very developing lesson to the balance of the 
class to hear the average members of the class read aloud. 
It is of doubtful value for the poor readers to hear the 
better readers, and it is certainly not a benefit to the good 
readers to listen to the weak efforts of the poorer readers. 



READING AND READING ALOUD 17 

There is no other lesson that can be made less interesting 
than an ordinary lesson in oral reading, to those that are 
expected to sit still and listen to reading that is lacking in 
the best qualities of expression, and of impressive delivery. 
Lack of interest and inattention must necessarily follow 
such an experience, and any school process that causes lack 
of interest and of attention is unquestionably a wrong 
process. 

On rare occasions, when the pupils are excellent silent 
readers, it may be advisable to have the whole class take 
part in the oral reading lesson, by listening to the reading 
of one with the books open but turned down on the desk, 
and when he has finished to voluntarily point out the excel- 
lent features of his reading — never its defects. Such a 
practice may be made vitally interesting, and productive 
not only of power to recognize the different elements of 
good oral reading; but it also develops a higher type of 
character by training the pupils to look for good, not bad ; 
strength, not weakness in their fellows. It also strengthens 
the faith of the reader in himself instead of weakening it, 
and makes him happy instead of miserable. All school 
processes that tend to develop unhappiness and weaken the 
faith of the children in themselves, are evil. 

Some teachers defend such teaching by claiming that all 
the members of the class learn the correct pronunciation 
of the words by taking part in such a lesson. Pronuncia- 
tion is a distinct department of language teaching. It 
should not be a part of the oral reading lesson. An efficient 
and experienced teacher should know the words in each 
lesson that pupils are liable to mispronounce, and he should 
have been teaching the correct pronunciation of these words 
for at least two weeks before the lesson is reached. All 
good teachers keep a list of words liable to be mispro- 



18 TEACHERS HANDBOOK 

nounced on the blackboard, and each word mispronounced 
in the reading lesson or any other lesson is added to the list. 
Pronunciation practice should be held every day for two or 
three minutes. Occasionally sides should be chosen for a 
pronunciation match. If the words on the board are num- 
bered each side should be asked to pronounce the words in 
turn by the other side calling a number. The numbers may 
be called by the two captains, or the pupils on each side 
may in turn call the number of the word to be pronounced 
by the other side. If a word has been mispronounced and 
no claim of error is made by the captain of the side that 
chose the word, no error is to be counted; if a word has 
been properly pronounced and an error is claimed, the error 
is to be counted against the side making the error. The 
teacher should record the errors and the side making the 
smaller number of errors wins. 

Even if a word is mispronounced when a pupil is reading 
aloud, there should be no re-reading of the paragraph in 
order that the reader may pronounce the word correctly. 
The teacher should record the word, and put it on the 
board later. So far as the development of the power of 
reading aloud is concerned, it does not make the slightest 
difference if a word has been mispronounced. In many 
cases more time is taken to correct the pronunciation of a 
word during the reading lesson than it should take to drill 
on the pronunciation of that word and ten others in a 
pronunciation exercise; and no poor fellow is humiliated 
in the drill, as he would be, if the reading lesson had been 
stopped to have him read the selection over and make one 
correction of the word. Thoughtful teachers know that 
one proper pronunciation will not eradicate a habit of mis- 
pronunciation that has been practiced for years. 



READING AND READING ALOUD 19 

If a teacher persists in conducting oral reading lessons 
all the pupils but a few may profitably work at some other 
subject, while the few are taking their turn at reading 
aloud. Such a course greatly aids those not reading by 
developing concentration, and training them to work under 
somewhat distracting conditions, and still keep their atten- 
tion fixed on their own work. This in itself is a very 
valuable lesson. 

Corrections and Re-reading 1 . Formerly it was cus- 
tomary, as it is yet in some places, for teachers to add to 
the horrors of the poor oral reader by telling him, after he 
had been compelled to make an exhibition of himself by 
his failures and errors, all the mistakes he had made in 
pronunciation, emphasis, inflection, pausing, etc., and then 
ordering him "to read it again." When he made the 
second attempt he could not think about the author's 
thought, but was compelled to focus his mind on the words 
he had mispronounced, and to try to remember the proper 
pronunciation, and to correct several other kinds of mis- 
takes. Such a process made it impossible for him to read 
the paragraph properly and helped to make the lessons in 
oral reading uninteresting, discouraging, and distasteful. 

When teachers thought they had improved their method 
of conducting an oral reading lesson by asking the other 
pupils to tell the victim the blunders he had made, instead 
of doing it themselves, they perhaps helped to increase the 
attention of the other members of the class, but they neces- 
sarily made it more harmful and more humiliating to the 
one criticized. 

The old practice, for instance, of exchanging composi- 
tions in order that the pupils might point out the errors 
and weaknesses in the compositions of others, was injurious 
both to the critics and to those criticized. It is degrad- 



20 TEACHERS HANDBOOK 

ing to train children to look for weakness in others. 
To summarize the excellent things found in the oral 
reading or the composition, or the art, or the singing, or 
in any form of productive work done by a fellow pupil, 
develops a deeper consciousness of power in those who do 
the work, and in those who recognize its value and gener- 
ously express appreciation of it. Such an effort helps all 
to form the highly moral habit of looking for good — not 
for evil, for brightness, not darkness; and helps all to 
become conscious of increasing power to see the divinity of 
beauty in nature, and in character. Destructive criticism 
weakens the critics and the criticized; appreciatively con- 
structive criticism, on the other hand, develops and tends to 
ennoble both. 



OVERCOMING SPEECH DEFECTS 

Some of the time that has been wasted in attempts to 
teach pupils to read aloud may be spent more profitably in 
aiding the pupils in overcoming speech defects. Practice 
should be given to overcome all speech defects, such as 
stammering, lisping, imperfect enunciation, etc. 

1. Stammering. Improper breathing is responsible 
for most of the speech defects. Stammering is caused by 
lack of breathing power, and by the locking of organic 
connection by habit, by pressure, and often by weak nerve 
control of the speech organs. 

Any child who can say "ah" in a tone easily heard in 
every part of an ordinary school room for from forty to 
sixty seconds may easily be trained to overcome the diffi- 
culty of stammering. Pressure to force out words is an 
absolutely unnecessary effort, and is the only thing to be 
overcome after the pupil can say "ah" aloud for the period 



OVERCOMING SPEECH DEFECTS 21 

specified. The breath should flow out smoothly when we 
speak, or recite, or read aloud. Stammerers usually have 
little air in their lungs, and they expel it from their lungs 
spasmodically instead of slowly and smoothly. On this 
account, when the organic contact of speech organs required 
by certain consonants, takes place, the spasmodic outflow 
of the breath fastens the tongue against the teeth or makes 
the lips compress tightly and prevents the outflow of the 
words. The consonants may be divided into two classes, 
those that stop the outflow of breath or sounds, and those 
that do not do so. There is little stammering caused by 
continuous consonants. "T" may be taken as a type of the 
stopping consonants, and "M" as a type of the continuous 
consonants. "T" stops breath by putting the tip of the 
tongue against the roof of the mouth close to the upper 
front teeth, "M" only partially stops sound, because so long 
as the breath lasts the sound of "M" passes out through 
the nasal passages. Whether the consonants stop or only 
partially stop the passage of sound or breath the teacher 
must train the stammerer to understand that the stoppage, 
or partial stoppage must be instantaneous only, and for the 
shortest time possible. 

When the stammerer tries to say "Tom," for instance, 
and puts his tongue in the proper position to begin the 
word, it stays in that position too long, and in trying to 
force the word out between his lips the spasmodic pressure 
forces his tongue against his upper front teeth so that it is 
impossible for the word to get out, and the harder he tries 
to force it out the more impossible it becomes. This is true 
of any closing or lock of the organs of speech. No pressure 
is required in speaking. The pupil should do the thinking, 
and the speaking organs do the speaking without special 
effort on the part of the pupil. 



22 TEACHERS HANDBOOK 

To make consonantal contact automatic the teacher 
should have a list of short words beginning and ending so 
far as possible with the consonants that are liable to give 
trouble. Beginning with "B," the first consonant, the word 
"Bob" is a good word, and it has two contacts of the lips. 
The stammerer should be trained to say "Bob, Bob, Bob, 
Bob" over rapidly as many times as he can say it after one 
good deep breathing, without consciously pressing his lungs 
to force out the word, when there is little breath in them. 
This will give him practice in making the contact of the 
lips instantaneous only. 

When he can do this with "Bob," take in turn Bab, bed, 
bib, bub, and then ask the pupil to write the five words in 
a line for practice. For "C" proceed in a similar way, 
using say "cat, ket, kit, cot, cut," "K" and hard "C" are 
exactly the same in the formation of the speech organs. 
For "D" use "dad, ded, did, dod, dud." For "F" use "fat, 
fed, fit, fop, fun," getting only one "F" in each word, and 
proceed in a similar way with the rest of the consonants. 

Gradually the pupil will overcome all his stammering 
possibilities, if he will with the aid of the teacher go through 
the alphabet and form five short words for practice with 
each troublesome consonant. He must practice deeper 
breathing till he can say "ah" forty seconds or more. He 
must stop trying to force out words when his speech organs 
become locked. He must practice till his consonantal con- 
tact becomes instantaneous only. 

When he can do these three things, he can speak freely 
unless his nervous system interferes with muscular control, 
or his sensitive nature distracts his attention from his 
thinking, and makes him fear, or believe that he must 
attend to the speaking as well as to the thinking. Play, 
skating or any interesting exercise in the open air is the 



OVERCOMING SPEECH DEFECTS 23 

best way to improve his nervous system, if he is properly 
nourished. 

2. Lisping;, Lisping is caused by allowing the 
tongue to lie too low in the mouth, and letting the tongue 
tip project between the teeth. Lispers should watch care- 
fully standing before a looking glass and repeating the 
sentence : Sam Slick's sweet sister Susan saw sixty-six sets 
of steel scissors sharpened last Saturday. Similar sentences 
may be composed for other defects by the teacher and the 
class. 

3. Thickness of Utterance. This is caused by the 
same lack of tongue control as lisping. Tongue control 
must be developed. It must not be allowed to lie in the 
bottom of the mouth while speaking, or allowed beyond the 
teeth. A good sentence for practice is "Timothy Thick- 
thong thrust three thousand thistles through the thick of 
his thumb." 

A part of the time formerly mis-spent in the oral reading 
hour should be used in practice for developing the powers 
of emphasis, inflection, dramatic gesture, etc. 

There should be at least one good book on a reasonable, 
modern system of elocution developed from within as self- 
expression, in the school library from which the teacher 
may take the exercises. 

Eecitation of selections chosen by the pupils may be 
given with profit in the Midway Grades — of course the 
selections should be submitted to the teacher for approval 
before they are recited. 

At least twice each week short stories should be dis- 
tributed for silent reading. The reading should be stopped 
at a signal from the teacher and then a few pupils called 
upon to relate the story read in their own words. Care 
should be taken that all the pupils should be called upon 



24 TEACHERS HANDBOOK 

an equal number of times for this very developing practice. 

Occasionally, a few subjects should be written on slips of 
paper and then the slips placed in a bag from which five 
or six pupils should each draw a slip, and after five minutes* 
preparation be called upon to deliver impromptu speeches. 
The slips should be numbered and the speakers would 
know when to step forward to speak. An impromptu 
speech for Midway pupils should not be longer than five 
minutes. 

For a variety, pupils should be sometimes allowed to 
choose their own subject. 

All the exercises and practices suggested, and similar 
exercises and practices, develop power and will productively 
take part of the time formerly allowed for reading aloud, 
but special exercises and special teaching should relate each 
week to the story from the MIDWAY EEADEES, that is 
the one for special consideration during the week. 

LITERATURE IN THE INTERMEDIATE GRADES 

In the Midway Grades the pupils are passing through a 
transition stage of development when all life appeals with 
a new and more transforming interest. Play brings more 
vigor of mind and body; manliness appears more worthy, 
and meanness more contemptible ; honorable, generous and 
unselfish conduct appears to be more admirable, and dis- 
honesty more base and disreputable; visions of new and 
deeper relationships and consciousness of new powers come 
more clearly to the mind and soul; both mind and heart 
respond to the great awakening with increasing joy. 

Literature and science have the richest revelations for 
the growing minds and hearts during the adolescent period. 
They should bring to young people of both sexes a produc- 



LITERATURE IN THE INTERMEDIATE GRADES 25 

tive consciousness of new beauty on earth and sky; a 
widening vision of the extent and marvelous perfection of 
the universe. 

The aim of the teacher of the Midway Grades should be 
to develop in her pupils the habit of independent thinking 
with an alert and unprejudiced mind. The training in 
these grades should make the pupil conscious of original 
power. His reading should bring him the deep and pro- 
pelling interest that comes only from reading books which 
appeal to his own mind at each stage of his development. 

The stories for the Midway Grades and the processes of 
their study should prepare the pupils for literary study by 
deepening their interest in the beauty of Nature as a gleam 
of spiritual power and joy ; by preparing them for advanced 
ideals; by kindling them with the joy that comes from 
things higher than material things ; and by training them 
to think independently in regard to the normal founda- 
tions of human society. So prepared, they are ready to 
study literature in the most productive way. 

There was little tendency to soul-development or oppor- 
tunity for the development of the individual to recognize 
new and higher ideals ; and less possibility of being vitally 
kindled by great purposes in the old methods of teaching 
literature. These processes consisted, and sometimes still 
consist, in training the students to study what someone 
else thought about the revelations of great authors in their 
works; instead of training them to search independently 
for new visions by their own study. 

No writer can give a pupil a revelation of the meaning 
of an author's ideal as vital to him as the revelation he 
gets by the study he makes independently. 

A pupil may prepare for examinations by studying some- 
one else's views about the author's meaning, but he never 



26 TEACHERS HANDBOOK 

can develop his own powers, and get faith in them by 
simply storing other men's interpretations. The good 
teacher of literature asks a pupil to study a poem or a, 
chapter and report the new ideals he regards as most 
important, why he regards them as most important, and 
what result in enlarging his former ideals has come to him 
by relating the new ideals to the ideals already in his 
mind. This process may seem to be slow, but each day 
increases the powers of vision and of interpretation. His 
mind is not merely storing new visions seen by someone 
else, it is gaining greater power to see visions, and to 
consciously relate his visions to human progress towards 
the Divine. He is becoming a self-active see-er of visions, 
and a revealer of his visions as he sees them — not as 
another sees them. No teacher should allow her pupils to 
depend on another for their visions. Second-hand visions 
are not vital. 

Some people yet restrict the self -activity of the child to 
self -activity of his mind in directing the work of his hands. 
The child should be trained to be independently self -active 
in literary study, as well as in Manual Training. Though 
his progress may seem to be slow, it is sure, and it gradually 
helps him to become an independent and original inter- 
preter. The plan recommended aims at developing his 
mind, not merely at storing it; at increasing his mental 
ing power, and his faith in himself, and his own creative 
power in revealing his visions and his reflections. 

Such training qualifies everyone to be an interpreter of 
books on any subject within his mental and spiritual range 
of power, that possess special interest to him; not merely 
books relating to what are regarded as literary subjects, 
but to science, art, music, and other subjects. Far better 
than this it qualifies and directly trains him to interpret 



LITERATURE IN THE INTERMEDIATE GRADES 27 

for himself original visions of his own regarding his own 
favorite subject and relate them to human development, so 
that up to the best of his natural power he becomes a 
revealer of new thought and not merely an interpreter and 
expounder of the visions of others. It may please a youth 
to comprehend the visions of a great author as interpreted 
by another; but to form an independent interpretation 
himself is infinitely more gratifying to him and increases 
his interest in the subject, and stimulates his consciousness 
of his own power and progressive development a thou- 
sand-fold more than merely storing the interpretations of 
others, however learned they may be. 

When the pupil is more mature, and has studied a great 
literary work himself independently several times, seeing 
each time new visions of beauty and of power unseen before, 
because of his enlarging mind and his certainty of increas- 
ing power, it will undoubtedly do him good — great good — 
to study the interpretations of the wisest literary students. 
His years of self-active interpretation will have qualified 
him to understand the interpretations of great literature 
by great literary interpreters, and to be uplifted spiritually 
by their interpretations he had not himself seen, as a result 
of his own study and thought. His independent study 
qualifies him for an understanding of great ideals that 
would have little vital meaning to him if they had been 
formally taught to him and memorized by him. The best 
literature teacher's interpretations of great literary ideals 
cannot kindle a boy's interest, or increase his own inter- 
pretative power or develop a conscious faith in himself as 
well as the training of his power of self -interpretation will 
do, if it is developed from the Midway period of elementary 
school life. 

There is little ground for thinking that the great 



28 TEACHERS HANDBOOK 

majority of pupils even in High Schools clearly grasp the 
interpretations of great literature given to them by their 
teachers or studied by them in the interpretations of great 
literary interpreters. Only a small percentage of the 
students of literature in High Schools and Universities of 
the world continue to take a productively vital interest in 
good literature through life. The development of self- 
interpretative power may be slow, but it is kindling and 
vital. "Our students could not be trained in that way to 
pass their examinations," say the teachers. The answer to 
this objection manifestly is: "Do not try to test soul- 
development by examinations." Such a statement is one 
of many philosophical indications that examinations did 
not originate in divinely inspired minds. 

Methods of teaching literature that do not make the 
primary aim self-activity on the part of the pupil as the 
only sure basis of increasing the child's interpreting power 
prevent the best development of the power to understand 
and interpret literature as well as books on all other sub- 
jects. Every power grows by use. The higher the power 
is, the more rapidly it should grow under proper condi- 
tions and the more valuable its development is to the 
individual and to humanity. 

The stories of the MIDWAY READERS should con- 
stitute the basis of the literary kindling and training of 
the children in the Midway Grades. Let the training aim 
be the development of self-active interpreting power. 



PART II 

THE MIDWAY READERS AND HOW TO USE THEM 

ETHICAL SIGNIFICANCE OF THE MIDWAY READERS 

The stories of the MIDWAY READERS should start 
in the child's mind and heart centers of true thought and 
feeling, which as they grow older may be kindled into 
conscious growth by experiences, and developed into moral 
principles and moral force to impel to the achievement of 
these principles. 

The practice still followed by many teachers, as well as 
parents, of making direct personal applications of the moral 
lesson to the children, defeats the well-meant purposes of 
those who formally make the applications, by weakening 
the interest of the children in stories, and by interference 
with the natural development of moral centers in the 
minds of children and in their emotional natures. The 
stories should start apperceptive centers of moral ideals, 
and of moral emotional forces which will at the proper 
time under proper conditions evolve into clear moral vision 
and forceful achieving power, and so promote the develop- 
ment of real moral character. The child, during the jears 
when the MIDWAY READERS are to be used, is not 
ready to have ready-made sections of moral philosophy 
forced into his mind by an adult. He is too young to 
understand the moral philosophy or to apply it ; and when 
good ideals are given to children without guiding them to 
the achievement of the ideals, they are weakened instead of 
strengthened by the process. 

The natural way of starting the centers of moral pur- 
poses and moral achievement, is by allowing the stories to 

29 



30 TEACHERS HANDBOOK 

influence the minds and hearts of the children and by wise 
comradeship to guide them to self-active efforts for true 
purposes to develop the seeds of character so planted in 
their lives. 

The MIDWAY KEADEKS by very interesting stories 
start the growth of high moral principles in the minds and 
hearts of children that are calculated to lead to the develop- 
ment of moral vision and moral achievement in the home, 
in the community, and in the nation. 

They are revealed by the actions of the characters in the 
story, instead of by precepts or emphasized as lessons for 
moral guidance by the teachers. Each good thought enters 
the minds, and each good feeling enters the hearts of the 
children as a stimulating influence of the story itself, inci- 
dentally contrasting right action with wrong action, and 
thus starting the right to grow in their hearts and minds 
as naturally as the sunshine and the rain in spring start 
the growth principle in flowers to unfold into bloom. 

As illustrations of the way in which young people are 
influenced by the decisions and actions of the young char- 
acters in the stories, the following are chosen from one of 
the readers : 

In "Under the Oak Tree" when the tutor of the young 
prince tried to induce the little shepherd boy to reveal the 
position of the litter of very young rabbits, and the boy 
refused to do so, the tutor said : 

"Don't be obstinate, my little man. This boy has never 
seen live rabbits in his life, although he has read much 
about them. For a long time he has wished for a chance 
to see some. Give him this pleasure and lead him there. 
He won't even disturb one of them." 

The shepherd boy rose, and taking off his cap and hold- 



ETHICAL SIGNIFICANCE OF THE MIDWAY READERS 31 

ing it in his hand in respect for the old man, said: "I 
cannot show him that litter of rabbits." 

"How very unfriendly you are," said the old tutor. "It 
ought to give you pleasure to give pleasure to another, 
especially when it is for the King's son." 

"Is this boy the Prince ?" cried the shepherd boy in sur- 
prise. Then he doffed his cap, and said respectfully, "But 
I could not show him the litter, were he the King himself/' 

The Prince looked at the boy sullenly, and turning to 
his tutor, said : "Such a headstrong, wayward boy I never 
met, but maybe you can find some way of conquering him." 

"Just tell us," said the tutor, "why you cannot show us 
these rabbits. If you can give us a good reason, we will 
go on and not disturb you any longer." 

"Of course I can tell you why. My friend, Michael, 
showed them to me, and exacted the promise that I would 
not show them to anyone else." 

"Well, that is a good reason," said the tutor. But in 
order to test him he drew out his purse and said, "Do you 
see this money? It shall be yours when you show us the 
rabbits. You needn't tell Michael anything about it, and 
he'll never know." 

"Oh! I thank you very much," said the shepherd boy. 
"No, no ! I would not do that. What good would it do 
me, although the whole world didn't know it, so long as 
I knew that I had broken my word and was a dishonorable 
boy." 

"Maybe you don't know how much money I am offering 
you?" said the tutor. "If you changed it into coppers 
your cap wouldn't hold them all." 

"That would be a great many," replied the boy, and 
gazed at the gold longingly. "Truly that would buy some 
comfort for my old father." He paused a moment, lost in 



32 TEACHERS HANDBOOK 

deep thought. Suddenly he collected himself and cried: 
"No ! Tempt me no more. I gave Michael my hand on 
it, that I would not betray the whereabouts of the rabbit's 
litter. My word has been given. Break it ? Never." 

The gamekeeper who had just chanced that way had 
joined the group and overheard the conversation. He 
understood full well the test which the tutor had just 
employed. Pursuing the same tactics, he took the shep- 
herd boy by the arm, and said in his deep bass voice: 
"Stupid boy, that's no way to act towards the Prince, who 
some day will be King. You think more of that shabby 
Michael than you do of the Prince. Show the rabbits to us 
at once or I'll — " and he raised his hand as if to strike him. 

For a moment the shepherd paled and trembled. Notic- 
ing the boy's timidity, the gamekeeper shouted: "I tell 
you show us the rabbits." The boy clasped his two hands 
tightly, looked straight at the gamekeeper, and said: "I 
must not. I dare not. I will not." 

"That's enough," said the tutor and motioned to the 
gamekeeper to put by his gun. 

"Fear not, my little man. Nothing shall happen to you. 
You have acquitted yourself nobly. You are an honest 
boy. Go and ask your friend Michael for permission to show 
us the rabbits. You can then divide the money with him." 

"Good! Good!" cried the lad, "and this very night I 
will bring you the answer." 

On his way home the tutor said: "Such an honest boy 
is really a wonder. Honesty is a jewel so precious that its 
value cannot be reckoned. The boy has in him the making 
of a great man, whose character will be firm and unshaken; 
we often find that a pauper's rags may cover true worth." 

Michael was willing, and called the shepherd a silly boy 
for not closing the bargain at once; but the boy was glad 



ETHICAL SIGNIFICANCE OF THE MIDWAY READERS 33 

he had been true and honorable. He took the Prince and 
his tutor to the litter. The Prince was delighted, and the 
tutor gave the boy the money he had promised, and he 
learned afterwards that he gave half to Michael as he 
promised and the other half to his own father. 

Finding that Peter, the little shepherd, had always a 
book with him to read, and that he had never been to 
school, the Prince's tutor became interested in him, and 
lent him books. 

The King came to the castle where the Prince had been 
sent to improve his health. His son, the Prince, told him 
about Peter and his honesty in keeping his promise to 
Michael. He asked the tutor to send for Peter. When he 
came the King asked him if he would like to become a 
student? "Oh!" said Peter, "If the wish were all that 
were needed, I should be a student today. But my father 
has no money. That's what is lacking." 

"Listen, my lad," said the King, "I will try to make a 
student of you. This gentleman, our tutor, has a friend 
who prepares boys for higher studies. We will secure his 
services and I will defray the cost. How would that suit 
you ?" 

The King expected the boy to be elated with the idea. 
To his surprise he noticed a smile play over the boy's face ; 
then his expression suddenly changed into one of pain and 
sadness. 

"What is the matter with you?" asked the King. "It 
seems that you would rather cry than laugh. What is the 
trouble? Let us hear." 

"My father is so poor," said Peter, "that he could not 
possibly do without the little that I can earn." 

"You are a good son," said the King in a friendly tone ; 
"this filial love which you show for your father is worth 



34 TEACHERS HANDBOOK 

more than the costliest jewel I wear in my crown. I will 
make good what your father would lose when you exchange 
your shepherd's crook for pen and books. Will that 
answer ?" 

The boy was overjoyed. He kissed the hand of the King, 
thanked him over and over again, and after many saluta- 
tions hurried to bear the joyful news to his father. 

In "The New Partner/' Tom was a delicate boy whose 
early sickness had left him lame. He had few friends, but 
an elderly man who manufactured candy took an interest 
in him. He went as often as he could to see the candy- 
maker who used to carve things for him. The boys in the 
school often teased Tom, and sometimes did not treat him 
as respectfully as they should have done. This made Tom 
very unhappy, and one evening when Gerald, the candy- 
maker, was carving for him, Tom looked wistfully at his 
friend and asked in a trembling voice: "What must one 
do to be respected ?" 

Gerald looked at Tom and said in a kindly tone : "Would 
you like to be respected ?" 

"Oh, yes!" Tom said confidently, and his face beamed 
with anticipation. 

"Well, then, you must study hard and learn as much as 
possible; never waste your time in idle dreaming; be 
respectful to the aged, be honest, steadfast, and true ; theu 
with a clear conscience, you can look everyone squarely in 
the face knowing you have never wronged anyone by word 
or deed." 

Tom listened thoughtfully, and the words made a deep 
impression on him. Suddenly he raised his head, and look- 
ing steadily at Gerald, said : "I will always try to do just 
as you have said." 

This extract from a delightful story was chosen to 



ETHICAL SIGNIFICANCE OF THE MIDWAY READERS 35 

impress two things on the minds 1 of teachers and parents. 

The boy or girl who reads the story will be influenced 
much more by Gerald's advice to Tom, than if a teacher 
had made the application of the moral advice as a lesson ; 
and a child would receive a more vital impulse towards a 
right decision by reading Tom's decision, than by receiving 
it as formal advice. 

In "Unexpected Help," Gertrude was the only child of 
a widow who was poor. Gertrude made some money for 
her mother by gathering berries and selling them to a 
wealthy lady who had a daughter named Amanda. Ger- 
trude's mother had been ill for some time, so she had been 
unable to pick berries for Mrs. Lawrence. One morning 
Gertrude went out very early, as her mother had passed a 
better night than usual, and filled a little basket with fine 
berries, which she took to the home of Mrs. Lawrence. 
Amanda met her at the door and said: "If you do not 
come every day my mother says she will not buy from you." 

Gertrude's eyes filled with tears, as she said: "Dear 
miss, my mother has been ill the entire spring, but during 
this last week she was so sick that I did not dare leave her 
for an instant. Last night she seemed a little better, so 
I hurried at break of day to gather these berries, that I 
might earn some money for her." 

"Why didn't you tell me of your mother's illness before ?" 
asked Amanda. "My mother is very kind and she would 
have helped you, had she known of your trouble." 

"I thank you," said Gertrude, "I know well that you 
and your mother are both good to the poor ; but my mother 
says, 'As long as we can earn we must not be a burden to 
anyone. There are many poor people who cannot work. 
It would be wrong for us to deprive them of bread'." 



36 TEACHERS HANDBOOK 

Amanda told her mother, and Mrs. Lawrence asked her 
to bring Gertrude to see her. 

When she was telling Mrs. Lawrence about the suffering 
of her mother during her illness, tears rolled down her 
cheeks. 

"Do not cry, my dear child, I will take care of your 
mother." 

Gertrude was very grateful. Mrs. Lawrence paid her 
doubly for her berries, and gave her some nourishing soup 
for her mother* She also promised to visit Mrs. West, 
Gertrude's mother. 

After Gertrude had gone home, Mrs. Lawrence said to 
Amanda : "She is an extraordinarily good child. I cannot 
praise her too much when I think of her cleanliness in all 
her poverty; but her love for her mother is even more 
deserving of praise. A heart like hers, full of childish love, 
is worth more than a diamond." 

This short extract from an exquisitely suggestive and 
beautiful story shows how in a small space a story may 
reveal incidentally and most impressively some of the 
fundamental elements of true character in such associations 
with delightful experiences, and with charming children 
that cannot fail to find a place in the minds and hearts of 
the children who read them, where they will germinate and 
produce unselfish character. 

These are but samples of the characteristics of the stories 
in the three volumes of the MIDWAY READERS, and it 
is of very great importance that Book One be read in the 
Fourth Grade and Books Two and Three in the Fifth and 
Sixth Grades, since each of these readers reveals and reim- 
presses the moral values of the one read the year before, 
and three revelations and impressions in three years, each 
impression coming a year after the last, have a much 



HOW THE MIDWAY READERS SHOULD BE USED 37 

greater and more permanent influence than the same three 
impressions made within a short space of time. 



HOW THE MIDWAY READERS SHOULD BE USED 

The MIDWAY READERS supply reading matter exclu- 
sively in the form of stories. The basis of progress in 
reading, as in all other subjects, must be the vital interest 
of the pupils in work they are doing. Stories are more 
interesting to the great majority of children at the period 
of their development, when these readers are intended to 
be used, than any other form of literature. The stories in 
the MIDWAY READERS should be of special interest to 
children, because: 

1. The plots are not complicated, and children can 
easily understand them. Some may be critical because the 
plots work out so easily. The plots of books for children 
should be simple. Very young children are not surprised 
when a cow jumps over the moon, or a golden table springs 
unexpectedly out of the ground laden with fruits and cake, 
or when other equally remarkable and unusual experiences 
occur in their story books, Logic and scientific fact are 
not essential in securing their interest. The belief that the 
reindeer of Santa Claus landed on the roofs of the houses 
and that Santa himself came down the chimneys to dis- 
tribute his gifts suggested no doubts as to their reasonable- 
ness. Nor will the fact that good fortune in some of the 
stories of the MIDWAY READERS, turns up at unex- 
pected times and places, raise any questions in the minds of 
the boys and girls who read them. 

2. In nearly all the stories a child plays an important 
part, and succeeds by unselfish efforts and a high sense of 
honor. 



38 TEACHERS HANDBOOK 

3. Though for a time evil-minded men appear to be 
succeeding, right wins in the end. 

4. The stories have all been written to impress the 
minds and emotional natures of children with fundamental 
elements of moral character, and to develop the battery 
power of true feeling essential to lead to the achievement 
of visions of duty, as they become clear to them. 

5. The most significant feature of the MIDWAY 
READERS is that the important lessons they are intended 
to reveal to the children are taught clearly by the stories 
themselves; by the experiences and incidents, and final 
results ; and not by special efforts by the author to impress 
them, nor by teachers in making personal applications to 
the children of the moral ideals revealed by the stories. 

When the pupils have reached the Fourth Grade, they 
should be able to read silently, rapidly and intelligently 
reading matter within the scope of the vocabulary which 
they have learned to speak, and which they understand. 

The 'MIDWAY READEES are intended to intensify 
and deepen the interest of the children in reading, and to 
give them productive practice in reading matter that inci- 
dentally gives them the most natural and the most efficient 
training calculated to develop a true moral consciousness 
and a self -active achieving tendency; a tendency to try to 
accomplish the visions of service and duty that are made 
clear to them. 

Reading the Stories. The reading of the stories may 
be done at home. After the pupils have read a story 
silently, they should have an opportunity to tell the story 
for the entertainment of the other members of the family, 
if the rest of the family approve of their doing so. 

It should be remembered that one story each month will 
finish the work of each book in one year. The Readers 



HOW THE MIDWAY READERS SHOULD BE USED 39 

have, respectively, eight, nine and ten stories in each book. 
They are not intended to be the only reading matter to 
which the attention of the children should be guided in a 
year. It may be found desirable to finish all the school 
work devoted to each story in one week. Each grade could 
easily read four books of selected stories and other forms of 
literary selections in a year. This would greatly increase 
the value of reading as a school study, compared with the 
absolutely inefficient systems and methods of the past. 

By having the reading done outside of class the time 
that has been wasted in attempts to teach pupils to read 
aloud may be used much more profitably in developing the 
most essential powers of both self-expression and expression. 

Word Study. First the new words of the story 
whose meanings the pupils do not know, and which they 
cannot pronounce correctly, should be written on the black- 
board at least two weeks before the story is read, and their 
meanings explained and their pronunciation taught. These 
lists should be reviewed in a drill by as many varieties of 
impressing as the teacher and pupils can propose. The 
pupils should write these lists in a book kept for the purpose 
and keep the words connected with each story under the 
story title. 

As a basis for the word study there will be found in a 
later section of the HAND BOOK lists of the most difficult 
words found in each story. The actual working out of the 
various stories with the classes in school will probably 
develop a need for study of other words with which the 
pupils are not acquainted. These additional words should 
be added to the pupil's lists as suggested above. 

If each pupil has a dictionary it will be good training 
for each one to turn to the word in the dictionary and learn 
its pronunciation and meaning. Pupils at this age may 



40 TEACHERS HANDBOOK 

be trained to -understand the meanings of the marks used 
to indicate the pronunciation of words and to mark in their 
own lists the correct pronunciations. Pupils should be 
called. on individually daily in a brief drill on words, to 
stand up and pronounce the words as quickly as possible. 
If any one in the class does not agree, he should raise 
his hand and the matter should be settled by the teacher. 
Next day pupils should stand and use the word to which 
the teacher points in a sentence, thus in this way test- 
ing pronunciation and meanings of words, and at the same 
time developing the power of oral sentence construction. 
Sometimes variety may be given by having matches in 
pronunciation, by choosing sides, and each side in turn 
pronouncing the word to which the teacher points. When 
the leader of either side claims that one of the other side 
mispronounced a word and the teacher agrees that the 
word was really mispronounced, the teacher, who should 
always score, marks an error on the board so that all may 
see it. If, however, the leader who claimed an error for 
the other side was really in error himself, an error should 
be scored against his side. In two weeks' practice the 
pupils should understand fairly the meanings of the new 
words and how to pronounce them, and be ready for the 
silent reading of the story. 

The pupils can easily read any of these stories in one 
evening, but in order that each one may have time to finish 
the story two evenings may be given for the reading of each 
story. 

Pupil Activity the Keynote of the Method. When the 
story has been read outside of class what should be the work 
of the school in connection with it? 

The fundamental principle in guiding the teacher in 
deciding the answer to this question should be that best 



DEVELOPING LITERARY APPRECIATION 41 

educational results can be secured only through the self- 
activity of the pupils. The teacher should not draw con- 
clusions from the actions of the individuals, nor decide 
which individual displays the highest characteristics. 

A teacher who gives a list of carefully prepared lessons 
from a story to his pupils violates the fundamental prin- 
ciple of mind development, which is self-activity. Self- 
activity is, indeed, the basis — the essential element in all 
human development, physically, intellectually and morally. 

The self-activity of play develops the child physically, 
more fully, more comprehensively and more harmoniously, 
than any system of physical exercises could develop him 
practiced under the direction of a teacher. 

The self -activity of the mind of the child in seeing a new 
vision to be achieved, in making a plan for its achievement, 
and in directing his powers to secure the achievement 
through persistent effort to accomplish his plans, is infin- 
itely more developing than using his mind to achieve the 
plans of others. 

DEVELOPING LITERARY APPRECIATION THROUGH THE 
MIDWAY READERS 

If used and studied by teachers and pupils as recom- 
mended in the preceding discussion, the MIDWAY 
READEES qualify pupils to enter upon the study of litera- 
ture with well developed power to extract new thoughts 
from printed matter, and with conscious, independent, 
individual power to relate new revelations to those they 
already have, and to human life. 

The stories of the MIDWAY EEADEES should develop 
interest in independent reading during three kindling years 
as no other form of reading matter can develop it. They 
should kindle and develop the imaginations of the pupils. 



42 TEACHERS HANDBOOK 

The self-active methods recommended in this HAND 
BOOK should make them vitally conscious of independent 
power of interpreting the meaning of literature. These 
three, interest, a developing imagination and a conscious- 
ness of a growing independent power to interpret the mean- 
ing of literature, form the surest and most comprehensive 
qualifications for a vitally productive study of literature in 
the grammar grades and ultimately in High Schools. More 
important than this, they form the only basis for a life- 
long interest in good literature. 

One phase of literary quality which should not be neg- 
lected is the literary beauty gained through description. 
Most of us in our reading are too prone to pass over the 
descriptive elements which tend to throw light on the sub- 
ject and bring beauty into the selection, thus losing much 
of the real literary quality of the article or book being 
read. It is the environment of the characters which makes 
their thoughts and actions understandable. The stories in 
the MIDWAY EEADEES, through their simple plot and 
character delineation, as well as their descriptive elements, 
offer abundant opportunity to develop a basis for an appre- 
ciation of the literary qualities of our greatest books with 
which even those who are to be moderately educated must 
become familiar. These stories furnish many analogies 
and similarities of plot and character delineation which 
should be made to point the way toward an understanding 
of great literature. 

For example, in "The Message," Book Two, page 137, 
may be found many of the same literary qualities found in 
"Ivanhoe." Knight Theobold represents that chivalry and 
knighthood which was the basis of many of Scott's tales. 
•'The Midnight Hour" perhaps gives even a more complete 
picture of mediaeval life, architecture, dress and customs. 



DEVELOPING LITERARY APPRECIATION 43 

In "The Captive" we find Antonio living the life of the 
galley slave as did Ben Hur and Jean Val Jean. "The 
Inheritance," "The Choice," "The Gold Ring/"' are pictures 
of life in England, always common to Dickens and Thack- 
eray. The experiences of Count Berlow in "From Eoyal 
Palace to Lowly Hut" prepare the way for an understand- 
ing of the horrors of the French Eevolution, perhaps most 
graphically pictured in "The Tale of Two Cities." "After 
Long Years," Book Three, page 1, cannot but aid the 
student of French history as he studies the accounts of 
Napoleon's retreat from Moscow. 

To the thoughtful teacher each story will offer possibili- 
ties of pointing out parallels peculiar to her individual 
literary training. It may seem wise to read to the class 
selections from the classics, for example, the tournament 
scene from "Ivanhoe," and leave it to the pupils to form 
the comparison, and it may seem equally as wise to make 
no pointed reference to any similarity whatever. The 
transition must be made, however, from the simple stories 
of the primary grades to the classics of the grammar school 
and the ease with which the bridge is crossed depends some- 
what upon the ability of the teacher to sense the individual 
needs of her pupils through a keen foresight of the prob- 
lems to be encountered. 

Among the advantages that should follow teaching 
processes, such as those recommended in this HAND 
BOOK, are: 

1. A deeper and more permanent interest in reading. 

2. Conscious power to gain from books not only the 
moral lessons of good stories, but the facts and principles 
of all kinds that should be of service not to the individual 
only, but to humanity. 

3. Thus children are definitely trained to think inde- 



44 TEACHERS HANDBOOK 

pendently, not merely to accept, ready made, the philosophy 
of others. 

4. They become conscious of the vital moral elements 
in really good character; character that works for the 
achievement of good instead of merely abstaining from 
evil deeds. 

5. They become conscious of their own individual 
power, and therefore develop a higher respect for and a 
deeper and stronger faith in themselves. Lack of true self- 
respect and of faith in themselves robs more men of power 
to achieve than any other weakness. Man's faith in God — 
really, genuinely, productive faith — increases as his faith 
in himself as God's representative increases. 

6. They gain power to stand and make brief impromptu 
speeches and there is no other way known by which a 
human mind develops so rapidly in later childhood and 
early youth as it does by speaking without special prepara- 
tion the thoughts that come to the mind in its impromptu 
efforts. The mind becomes alert, clear in vision power, 
definite in decision and increasingly responsive to the 
language suggested by the subconscious mind, when prac- 
ticing impromptu speaking, more naturally than in any 
other way. 

7. They gain literary appreciation through the study 
of literary qualities of the stories. 

The plans outlined briefly may be used successfully with 
all the stories in the MIDWAY READERS. Teachers 
will learn to vary them so as to increase the amount of 
self-activity on the part of the pupils. 

Teachers should be very careful to avoid the habit of 
some teachers of asking a limited number of the brighter 
pupils to lead in answering. All should be led to take an 
equal part in the exercises. The shy pupils should not be 



A PLAN FOR THE STORIES 45 

overlooked. They are the pupils who require the most 
practice. 

A PLAN FOR THE STORIES 

UNDER THE OAK TREE 

Book 1, Page 151 

Word Study: To be completed in advance of the 

assignment of the story for reading. See suggestions for 
Word Study on page 39. 

Reading of the Story: Time — one day. (To be 
done outside of the recitation period.) 

Recitation: The teacher conducts a lesson in which 
each pupil shall write answers to questions written by the 
teacher on the blackboard, as follows, one question to be 
answered and discussed by the pupils before the next ques- 
tion is written: 

Question One: Which character in the story do you 
like most, and why do you like him (or her) ? As soon 
as the pupils or nearly all of them have indicated that they 
have written their answers, the teacher should give a signal 
to stop writing and ask one pupil to stand up and tell the 
class his decision and give his reason for deciding. If any 
pupil or pupils do not agree with the decision of the 
pupil who answered, they should be trained to stand up 
instantly without any question about their decision, and 
one of the dissenters should be instantly called upon to 
give his reasons for dissenting. He and all who agree with 
him should sit down. If any remain standing, one of them 
should be called upon to state his decision, then he and 
all who agree with him should sit down. If this is done as 
quickly as it should be done, it will take but a few seconds. 



40 TEACHERS HANDBOOK 

Then any pupil who has not spoken, and who may have a 
reason not given for his choice by the speaker with whom 
he agrees, should be allowed to state his reason for making 
that character his choice ; and any one who has agreed with 
the first pupil in his choice, but who was led to change his 
mind by reasons given by another pupil, should be encour- 
aged to stand up and express his views. 

Question Two: Does any one think Peter was foolish 
in refusing to show the rabbits to the Prince? All who 
think so should stand up instantly, if there are any; and 
they should, as named by the teacher, give their views. 

Question Three: What would Peter have gained if 
he had accepted the money offered by the tutor? To be 
answered in writing by all. 

Question Pour: What would Peter have lost if he 
had accepted the money offered by the tutor and showed 
the rabbits to the Prince ? To be answered in writing by 
all. 

Question Five: What did Peter gain by refusing to 
show the rabbits until Michael had given him permission 
to do so? To be answered in writing by all. 

Question Six: Why did the King like Peter? To be 
answered by all. 

When the answers to Question Three have been written, 
one pupil should be called upon to read his answer to the 
question and then all other pupils who have additional 
supposed advantages should stand, and in turn name them. 
Those who have anything further to add should still stand, 
but those who have nothing further to add should sit down. 
Additions should be made until no one is left standing. 
The teacher should write on the board all the things named. 

When Question Four has been answered and reports 
given as in Question Three, the gains and losses should be 



A PLAN FOR THE STORIES 47 

compared by a few pupils standing up and giving their 
opinions as to which were greater, the gains or the losses. 
The teacher should name one to do so and all those who 
thought they could add anything to the statement of the 
first pupil, should promptly stand, and add their views as 
named by the teacher. After each one speaks all who have 
nothing to add should sit down. 

When Question Five has been answered according to the 
plan described for Question Three and Four each pupil 
should write a list of the things Peter gained by refusing. 
To this list the teacher may then very properly add some 
of the subtler points of advantage which should be added 
to the complete list of advantages as reported by the pupils. 
In addition to this, he may add any of the character losses 
Peter would have sustained if he had shown the rabbits to 
the Prince without Michael's permission. 

Then from the blackboard each pupil should make a 
complete list of the advantages that come to Peter from 
being true to his promise, and of the disadvantages or 
losses he would have sustained if he had not been true. 
Finally a vote of the class should be taken to decide what 
in the opinion of the pupils was the greatest advantage that 
came to Peter from his trueness under great temptation; 
and what would have been his greatest loss, if he had been 
untrue. If the pupils have not realized that his greatest 
loss would have been the loss of his own self-respect and 
real respect for his own integrity, the teacher should show 
in a few words that it is a more serious loss to lose our 
own self-respect than to lose the respect of others. 

Suggestion One: The teacher should point out either 
by suggestions or well directed questions the choice of words 
in descriptions of the time and place, the simple elements 
of the plot, and the traits of the characters which make 



48 TEACHERS HANDBOOK 

the story real. This should, of course, not become burden- 
some — neither should it be neglected, for it is through 
these elements that the literary qualities of the story may 
be developed. 

Suggestion Two: Occasionally a few pupils may be 
asked to come to the front of the class and tell in their 
own language the story of the week. The teacher should 
have a special sheet on which the names of those who speak 
are recorded so that they may not be called to do a similar 
thing until the other members of the class have had the 
opportunity of doing it. 

Suggestion Three: Teachers should not fail to take 
advantage of the opportunity which many of these stories 
afford for informal dramatization. The pupils should, by 
this time, be so familiar with not only the story but the 
very thoughts and feelings of the characters that they can 
easily take the roles of the characters they have been 
studying. 

Suggestion Four: At this stage it will be well to 
have oral reading of parts of the story, selecting passages 
that are particularly good because of the choice of words 
in the description or because they lend themselves espe- 
cially to good expression. 

Suggestion Five : Pupils should be encouraged to make 
large collections of stories from Sunday School papers, 
children's magazines, and daily and weekly papers. During 
the reading hour on Friday those who have found in their 
collection of stories incidents that are similar to the story 
of the week, may be permitted to stand and tell in their 
own language the story of their choice. 

It is advisable that each pupil should be supplied with 
a note book of about one hundred and thirty-five pages, to 
be divided by the pupils into three parts, one for each of 



A PLAN FOR THE STORIES 49 

the MIDWAY READERS, allowing two pages in which 
to record the conclusions made by the class in regard to 
the story ; and a list of other stories of similar moral type. 
This would leave about three pages for each story in which 
the pupil might add experiences of his own connected with 
his own life or the lives of his friends, to illustrate the 
value of the moral principles revealed in action by the story. 
This would divide the book into three sections ; forty pages 
for the MIDWAY READER with eight stories, forty-five 
for the Reader with nine stories, and fifty pages for the 
Reader with ten stories. 

If the blank book contains more than one hundred and 
thirty-five pages the remaining part should be used to 
make a record of experiences in the life of the writer in 
which he became conscious to a clearer and deeper degree 
of the value of the moral principles revealed in action in 
the stories of the MIDWAY EEADEES. The record of 
his own moral evolution should be for himself alone. 

In carrying out these suggestions the pupils are recog- 
nized as entitled to decide, and as capable of thinking inde- 
pendently. They are treated as reasonable beings whose 
reasons should be treated respectfully, even though their 
conclusions be incorrect. The most important aim at the 
midway period is not thinking as wisely and as profoundly 
as adults, but independent and original thinking. The 
teacher should respect an original thought though it be 
not wise in his own opinion, more than a correct thought 
that is merely remembered. It is independent original 
thinking that develops thinking power; not "letting other 
people's thoughts run through our heads." 

It cannot be too strongly impressed that all the work 
outlined in this chapter in connection with the reading of 
the MIDWAY READERS, and with two or three other 



50 TEACHERS HANDBOOK 

literary works may be done each year in the periods for- 
merly — and too often yet — devoted to oral reading. The 
results will be infinitely more important in securing much 
better reading, and in promoting successful training in 
both written and oral composition; and far beyond these 
in training the pupils to be self-active, independent, 
original characters capable of relating moral principles to 
their own lives. 

DRAMATIC COMPOSITION BASED ON STORIES 

Educators in the past have not had sufficient faith in the 
original power of young children in art, and in the com- 
position of music, and literature. It took a long time, 
even for some leaders, to recognize the fundamental truth 
that "Children learn by doing." Today leaders in educa- 
tion are gaining a vision of the much more important 
because more vitally productive truth that "Children grow 
by doing"; and growing is infinitely more important in 
developing human power, skill and character, than learning. 
Growth is the essential element in attaining the power, 
skill and character necessary to qualify each child for the 
performance of his own individual work for humanity and 
for himself. 

Individual self -activity is now pretty generally recognized 
as of vital importance in true harmonious physical de- 
velopment. Physical development is no longer regarded 
as merely the development of muscular power. Play is 
now regarded as much more effective in promoting organic 
development of the constitutional centres of power in the 
body, in developing them in harmony with each other, and 
especially in co-ordinating physical development with in- 
tellectual and moral power, than any formal system of 
physical exercises can be. The reason for this is that in 



DRAMATIC COMPOSITION BASED ON STORIES 51 

playing the child is self -active, making his own decisions 
and using his best physical and intellectual powers to 
achieve his decisions. In doing so he is kept alert by his 
intense interest in the game. He is keyed and toned up 
to his best, ready for instantaneous action, as the conditions 
of the game change, and reveal new opportunities to assist 
in achieving success for his team. 

Work that is not so severe as to strain his present physical 
power becomes almost as useful in developing balanced 
physical and intellectual health, as play, when the child, 
or even the adult is self-active; when he makes his own 
plans and achieves them to the best of his ability. Manual 
training has been recognized by thoughtful teachers for 
years, as one of the most perfect processes for aiding in the 
strengthening of over-wrought and enfeebled nervous 
systems, and thus restoring the physical, the intellectual, 
and the moral vigor of those who manifest symptoms of 
general breakdown, from enfeebled nervous systems. It is 
quite as essential that to secure the best results in the 
general development of the child he shall be trained to use 
his intellectual powers by self-active effort as an inde- 
pendent individual, making his own original plans and 
achieving them to the best of his ability under the direction 
of his own mind. 

The time is coming — and coming soon — when children 
will be encouraged to do original work in art, in musical 
composition and in different forms of literary composition. 
Very early in the lives of children they live imaginary 
lives, personating imaginary people, sometimes personating 
birds or animals. Many of them surround themselves with 
a group of imaginary playmates, and entertain them with 
imaginary stories. When encouraged to do so they enjoy 
telling their parents imaginary tales. Teachers should 



52 TEACHERS HANDBOOK 

direct this almost universal tendency into constructive and 
developing channels, so that its influence for good may be 
developed and perpetuated. The tendency to personate 
other characters real or imaginary, should be developed 
into the power of dramatic production and dramatic repre- 
sentation. For many children dramatic representation will 
naturally lead to dramatic production under wise direction 
by teachers. Both dramatic representation and dramatic 
composition may be used to develop intense interest in 
literature, and responding freely and happily to intense 
interest by productive effort, is one of the surest ways to 
develop the human mind. 

The stories of the MIDWAY READERS have such 
simple plots that many of them may be used with success, 
as the basis for dramatization by pupils in the Midway 
Grades. Using a story as the basis for a short play each 
child should be encouraged to make a list of the characters 
and to write the story in dramatic instead of narrative form 
making each of the characters tell or reveal his part in 
the story in dialogue form. Each child should write the 
parts for the characters in his or her own language and not 
in the exact language used in the story. 

The children may be allowed to alter the play somewhat 
in accordance with additions that to them seem to improve 
it. They should write their little plays at home, and plenty 
of time should be allowed for their production. Two in 
a year will be sufficient. They should be written, not as 
tasks, but as the result of enthusiastic interest aroused by 
the teacher. Interest may be kept up by letting it be under- 
stood that the best plays will be performed for the edifica- 
tion of the parents as well as the teachers and pupils. The 
selection of the best plays should be made by a committee 
of the pupils chosen by the class by ballot, the teacher being 



DRAMATIC COMPOSITION BASED ON STORIES 53 

ex-offieio a member of the committee. This, or another 
committee with the co-operation of the teacher should assist 
in the production of the play after the pupils have been 
chosen to represent the characters. It is vitally important 
that the pupils and teachers should co-operate from the 
beginning of the composition of the plays, till they are 
finally acted at the public entertainment. 

There will usually be time for at least two plays written 
by the children to be presented at one entertainment, so 
in preparation for this two stories should be selected for 
dramatization, and about an equal number of pupils should 
be named to dramatize each story. The children should 
have the chief part in deciding the story they are to 
dramatize. Each one should write his name on a slip of 
paper, and the title of the story he prefers to dramatize. 
Those who would as soon take one story as the other should 
write "either" on the papers on which their names are 
written. They may be added to the list to dramatize the 
story chosen by the smallest number, and thus the numbers 
for each story may be made as nearly equal as possible. 

The advantages of the work outlined are many. It 
increases the interest of the pupils in the process of express- 
ing their own ideals in writing. 

It trains them in an important kind of literary composi- 
tion, and incidentally increases their interest in all forms 
of literary work. It prevents the dwarfing, or the com- 
plete loss, of the well defined tendency of nearly all chil- 
dren to personate others, and even animals and things. 
So strongly marked an element in childhood, should not 
be ignored by teachers. Lack of attention to the develop- 
ment of the imaginations of children is a very serious 
neglect of duty by most parents and teachers. Imagination 
is clearly one of the highest powers of the mind and definite 



54 TEACHERS HANDBOOK 

plans for its development should be regularly practised in 
schools. Intellectually it aids in the conscious development 
of all the mental powers ; morally it enables each individual 
to recognize his relationships to his fellowmen, to the 
universe, and to the Creator. 

It prepares each mind for a progressively developing 
interest in literary work; not only in the literary work 
each individual may be able to do himself, but in the 
literary revelations of the greatest interpreters of the high- 
est thoughts yet made clear to humanity. It increases the 
self-active interpretive power of each child. Using his 
best powers to produce the best literature possible for him 
at his stage of development, is the best possible basis for 
his own literary culture, and for awakening his interest 
in all phases of literary study. It develops in his mind all 
his apperceptive centres of literary power, literary taste, 
and literary interpretation. 

THE USE OF TESTS IN THE MIDWAY READERS 

Owing to the wide range of ability of classes in the same 
grade in the same school system and of individuals in the 
same class, it has not been considered wise to attempt to 
establish specific standards for speed in reading from these 
stories. This does not mean that both speed and compre- 
hension tests are not important, and it is suggested that 
tests for both speed and comprehension be given using 
material selected from these stories for sight reading, or 
material which is entirely new selected from another source. 

When a section of a story in the MIDWAY HEADERS 
is to be used as a Test Lesson, it is suggested that a suitable 
cutting from the first part of a story that has not been 
studied be used for this purpose. This material for test 
lessons should not be used, however, until after the pupil 



THE USE OF TESTS IN THE MIDWAY READERS 55 

has finished the word study suggested at the beginning of 
the Lesson Plan. Thus the teacher should select material 
in advance of the assignment of the story to the pupils as 
a class exercise, since the value of a Test Lesson would be 
lost after the pupil had had an opportunity to read or study 
the story in advance. The Test Lessons should be given 
approximately once each month and a record of the results 
should be kept as a gauge of the individual progress of 
the pupils. 

When a Test Lesson is to be given the teacher should 
have each pupil provided with a slip of paper and a pencil. 
The pupils' names and the date should appear on the 
slip in a uniform heading as the teacher directs. 

The teacher should explain that when the reading of the 
Test Lesson begins she will, at every quarter of a minute, 
place the time on the blackboard. When the pupils finish 
the selection they should glance immediately at the board 
and record on the slip the time they find written there. 
Some may finish in 4 minutes, some in 3% minutes, others 
in 5% minutes, etc. This will provide a fairly accurate 
record of each individual in the class. 

The average rate of speed of the entire class is not, how- 
ever, as important as the individual record. The class 
average will vary according to the difficulty of the selec- 
tion. Some pages will present vocabulary difficulties to 
delay the reader; others will be rapidly moving, simple 
conversation through which the reader may "hurry" — so 
comparisons of class averages secured through different 
selections are of little value. Therefore the value of the 
comparison of class averages is greatest between classes 
of the same grade reading the same selections. 

Consequently the greatest value of the speed test to the 
teacher is the indication it is of individual progress. Is 



66 TEACHERS HANDBOOK 

some one pupil always the last to finish reading the selec- 
tion in test after test? If so, this particular pupil will 
need special help. If some three or four pupils invariably 
finish first, have they extracted the thought accurately — 
as well as rapidly? The teacher should watch the relative 
time of the individual pupil — both in comparison witu 
other members of the class reading the same selection, 
and with the consecutive reports secured from the same 
pupil as he reads different passages. Can he not gradually 
from month to month increase his speed? This is after 
all the object of Silent Eeading. 

As pupils and teacher work to increase the speed in 
Silent Eeading, it is of utmost importance that this is not 
gained at the expense of a complete understanding of the 
selection read. For this reason, therefore, speed and com- 
prehension tests should go hand in hand. 

The accuracy with which the pupils comprehend the 
thought of the stories read may be tested in any of a 
number of ways. Possibly the best plan for a compre- 
hension test is to have the pupils, as a class exercise, 
answer in writing a few well chosen questions covering the 
points of the story or article read for the speed test. More 
specific suggestions for this will be found under the topic 
Test Lessons in Part Three of this HAND BOOK. 

Aside from this specific test, the dramatic reproduction 
of the selection read is a valuable way of testing compre- 
hension. This requires a complete grasp of the author's 
meaning as well as close attention to details in their correct 
sequence. The more usual methods of determining compre- 
hension as found in each lesson are the choosing of new 
names for the stories and the forming of new titles for 
the illustrations ; the requests for opinions based upon the 
facts read; and the retelling of various parts of the story 
as a background for the selections read orally. 



PART III 

LESSON PLAN'S 
INTRODUCTORY STATEMENT 

In the following pages of the HANDBOOK will be 
found Lesson Plans for each of the stories in the MIDWAY 
READEBS. These have been worked out in considerable 
detail with the hope that they may furnish definite sugges- 
tions and yet in no wise limit the initiative or originality 
of the teacher. 

Word Study. It cannot be too strongly emphasized 
that the child should be made entirely familiar with the 
words listed for study in each lesson plan before the 
assignment of the story for reading is made. It is im- 
portant that the pupil may approach each lesson with as 
nearly all vocabulary difficulties eliminated as is possible. 
The suggestions for Word Drill were given on page 39 of 
Part Two. 

Literary Studies. The success of the suggestions for 
literary study in the Lesson Plans depends to a very great 
extent upon the teacher's literary knowledge and literary 
experience. The stories in the MIDWAY EEADEES may 
suggest entirely different possibilities of development and 
study to different teachers; other passages of description 
may seem more worthy of consideration than those men- 
tioned in the Lesson Plans — and for totally different 
reasons the story may be interesting. These suggestions, 
therefore, are to be considered most "elastic" and are to 
be changed as the experience of the teacher and the needs 
of the class require. They are in every sense suggestions 

57 



58 TEACHERS HANDBOOK 

planned to direct the attention of both teacher and pupils 
to the best in literature rather than to limit the possibilities 
in the study of literature. Before attempting to apply the 
Lesson Plans the teacher should make herself familiar with 
the Plan for the Stories as given on page 45, Part Two. 

Informal Dramatization and Dramatic Composition. 
The teacher must keep in mind that there is probably no 
better way to test the pupils' understanding of the story 
read than to allow the pupils to interpret that story in an 
informal way. She should, therefore, use the suggestions 
for informal dramatization freely as oral comprehension 
tests. When more than one suggestion for dramatization 
has been given in the same story, the teacher should con- 
sider them as suggestions and not as assignments. 

It is also important that the teacher make herself entirely 
familiar with the discussion of Dramatic Composition 
Based on Stories beginning on page 50 of Part Two as 
well as the Models for Dramatic Composition (one story 
from each book of the series) found on pages 9-8-124. 

Tests. There are Test Lessons, one from each book, 
offered as aids to the teacher in developing this important 
phase of classroom instruction. The teacher will note that 
in each instance material selected for the Test Lesson is 
taken from the first part of the story and represents a 
complete unit of thought. It must be kept in mind that 
the Test Lesson should be given before the story has been 
completed. These lessons combine the Speed Test with a 
test for Comprehension. 

The Comprehension Test should be given immediately 
after the Speed Test without further reference to the selec- 
tion. The questions provided have been chosen with a 
view to covering the Avhole selection to be read with con- 
siderable detail. The questions have been evaluated allow- 



LESSON PLANS— BOOK ONE - 69 

ing greater value to those of more importance in bringing 
out the important points of the story. 

Before giving Test Lessons the teacher should make her- 
self familiar with the suggestions for Test Lessons found 
on page 54 of Part II as well as the more specific directions 
given in connection with each of the Test Lessons. 



LESSON PLANS— BOOK ONE 
IN THE HEART OF THE FOREST 

Time — Five to eight days 

Word List: linden, consequences, inheritance, hesita- 
tion, acquaintance, guardian, interrupted, reluctant, adieu, 
embarrassed, lynx, unexpectedly, expectantly, herbs, 
escorted, resemblance, urgent, foster-mother, astonishment, 
donned, agitated, obstacles, claimant, documents, suspicious, 
fathom, wretch, benediction, portrayed, deception, en- 
trusted, abode, fraudulent, scanning, circumstances, de- 
scending, niche, adjoining, gesture, vengeance, treacherous, 
opponent, cautiously, protection, congratulate, detestable, 
penetrate, occupants. 

Assignment of the Story : For reading allow two days. 

Recitation : 

Questions to be Answered Orally or in Writing: 

1. Do you like the way the story ends? Why? 

2. Would you like to be the kind of a man the Duke 

of Altamont was ? Tell why. 

3. What incident in the story do you think required 

most bravery? Give reasons. 



60 TEACHERS HANDBOOK 

4. What incident in the story do you like best? 
Why? 
Literary Studies — To the Teacher: 

1. Interest — Due to rapid action. Were you anxious 

to finish the story after it was begun ? Why ? 

2. Description — Through discussion develop the 

picture of the encounter with the lynx. What 
words or phrases give the most vivid picture? 
Suggestion : If time permits, select other pas- 
sages which seem to form the most vivid 
pictures and explain why pictures are vivid 
because of choice of words. 
Informal Dramatization: 

Let the pupils select one or two scenes, or as much 
of the story as their interest and the time will 
permit, to dramatize. Here the teacher should 
make only the most general suggestions, for 
example — aiding in selecting the suitable scenes 
and assigning characters for the various parts. 
This dramatization should be done without pre- 
vious preparation and the conversation should 
be in the children's own words. 
Oral Reading: 

As the last step in the study of the story, cuttings 
from it may be read aloud. The pupils are 
now completely familiar with the words and 
thought, so they should find no difficulty in 
expressing the thought in the words of the 
author. 



LESSON PLANS— BOOK ONE 61 

AT THE PALACE GATES 
Time — Five to seven days 

Word List: magnificent, summoned, soothingly, de- 
frauded, speculated, ardor, captaincy, ado, inquisitive, 
chagrin, amassed, eventide, generosity, veranda, certifi- 
cates, misfortune, tyrannical, boisterous, turbulent, en- 
durance, guidance, haven, obscured, immediate, habita- 
tion, impassable, dominion, sustained, penalty, concealed, 
benediction, lamented, Angalese, frantically, conspiracy, 
frenzied, submission, vengeance, defiance, extravagantly, 
implicated, intercede, treachery, seclusion, deceit. 

Assignment of the Story : For reading allow two days. 

Recitation : 

Questions to be Answered Orally or in Writing: 

1. How do you like the way Captain Walters met 

failure ? Why ? 

2. Which act of Casper's do you most admire? 

Why? 

3. In which part of the story were you most inter- 

ested? Why? 

4. What did you think of Polla Mahga when the 

story was finished? 
Literary Studies — To the Teacher: 

Interest — Emphasize the elements of interest noting 
heroic action, the element of danger and of 
suspense which the story presents. Through 
several paragraphs the reader is at a loss to know 
whether or not — or how — the captives will be 
rescued. Their intense interest is retained, 
they are kept in suspense. 

Description — Point out thrilling situations vividly 



62 TEACHERS HANDBOOK 

pictured. For example, the capture by the 
natives. 
Informal Dramatization: 

What are the two most important scenes in the 
story? This may be decided by a general vote 
of the class. It is suggested that the children 
dramatize them: 

First — As nearly similar to the story as memory 
will permit. 

Second — As entirely different as their originality 
can make it. If this requires an entirely new 
ending for the story, so much the better. 
Oral Reading: 

It will be found that there are at least three in- 
cidents in the story, complete in themselves, 
viz: the Walters' home life at the time of his 
failure, the stormy voyage, the experiences on 
the island. Have the children recognize these 
and read the one in which they are particularly 
interested. 



THE CHOICE 
Time — One Week 

Word List: festivities, diligent, equipage, stupidity, 
brilliantly, confectioner's, derision, locomotives, memorable, 
melodies, banished, alternately, wearisome, attentively, 
unanimous, propositions, yearned, contradictory, ushered, 
luxuriant, verdure, quivered, nourishment, imprisoned, 
disposition, deposited, dumbfounded, hesitation, qualifica- 
tions, interjected, bestowed, consulting, adjusted, obliging. 

Assignment of the Story : For reading allow two days. 



LESSON PLANS— BOOK ONE 63 

Recitation: 

Questions to he Answered Orally or in Writing : 

1. What other title would you suggest for this story ? 

Why? 

2. Which of the characters do you like best ? Why ? 

Have you ever known any real children like 
them? 

3. What have you bought with money you have 

saved ? 

4. Were you glad that Fred, Robert and Elsie finally 

spent their money in the way they did? 
Literary Studies— To the Teacher: 

Life-likeness of Characters — Are the children's dis- 
cussions "real"? 

Common Experiences — Perhaps as the pupils read 
this story they will remember how they felt 
when one of their pets died and they can under- 
stand more fully how Paul and his Grand- 
mother felt when Bess was poisoned. It is this 
ability to write of experiences through which 
we have all passed in a way to make us recall 
them vividly, that is found in many great 
books. Question the pupils for incidents in the 
story that recall similar things that have really 
happened in their experiences. 
Dramatic Composition : 

This story offers an opportunity for something more 
than informal dramatization and should be 
made the basis for composition in dramatic 
form. The teacher will find aid for developing 
this type of work with this particular story 
on page 98 of this HANDBOOK. 



64 TEACHERS HANDBOOK 

m THE S1STOW 

Time — Five to seven days 

Word List: chalets, chamois, gnarled, perpendicular, 
plateau, complied, agile, spectacle, testimonial, delicacies, 
benefactor, resigned, bankrupt, equalized, radiance, sub- 
stantial, majestic, projecting, industrious, destruction, 
obediently, expiring, escorted, determination, foliage, profit- 
ably, hospitality, attachment, expectations, recital, ac- 
quaintance, corresponds, economized, bankrupt, basked, 
eventless, astonishment, deceived, companionship, conversa- 
tion, loyalty, devotion, circumstances. 

Assignment of the Story : For reading allow two days. 
Eecitation : 

Questions to be Answered Orally or in Writing : 

1. What one quality more than any other made 

Anton so successful? 

2. Which decision do you think was probably the 

hardest for him to make ? Why ? 

3. Which one of Anton's friends do you think helped 

him most? 

4. As you finish the story, do you find that Anton 

lived up to his name ? 
Literary Studies — To the Teacher: 

Interest — Due to the growth and development of 
Anton, so interestingly told. This study of 
the development of character is frequently the 
foundation for our best known literature — 
"Oliver Twist," for example. 

Description — So accurate that the snowy regions of 
Switzerland as well as the effect of climatic con- 
ditions on the people are clearly pictured. Note 
the first paragraph of the story. 



LESSON PLANS— BOOK ONE 65 

Informal Dramatization: 

Take one of the apparently less important scenes, 
for example, Anton's week's stay with Mrs. 
Stemple and develop from it a story of some 
imaginary happening to be dramatized. For 
instance, Hector might be lost or stolen during 
the week. 

Oral Reading: 

Have the pupils read whatever incident in the story 
they like best, giving in their own words the 
necessary explanation to form the background 
for the cutting. 

UNDER THE OAK TREE 

Time — Three Days 

Word List: relaxation, voraciously, dissuaded, expect- 
antly, intrusion, obstinate, dishonorable, timidity, pauper, 
curiosity, conquering, tactics, acquitted, cautiously, random, 
acquired, saluted, filial, diligent, admiration, perseverance. 
Assignment of the Story : For reading allow one day. 
Recitation — See treatment of the story, pages 45-50. 
Literary Studies — To the Teacher: 

Literary Form — A story within a story. This meth- 
od of having the story told by the principal 
character in the first person is quite common. 
For example, "Chaucer's Canterbury Tales," 
"The Arabian Nights." 
Informal Dramatization : 

This can perhaps best be done by having one pupil 
take the part of the father, leaving it to him to 
retell the story in his own words. This one 
pupil should be chosen by the class — and when 



60 TEACHERS HANDBOOK 

his storj is ended it should be members of the 
class who suggest incidents omitted. If time 
permits, it would be a splendid exercise to plan 
an entirely new story, following the plan of the 
story within a story. The teacher might also 
read selections from the "Arabian Nights," 
or the "Canterbury Tales" to emphasize the 
importance of this form of story-telling in 
literature. 
Oral Reading : 
As the different pupils are called upon, allow them 
to read that cutting from the selection which 
they like best with a spontaneous explanation 
as to why they like it. From such an expression 
the teacher should be in a position to suggest 
well known literature containing these same 
qualities of interest. 

THE NEW PARTNER 

Time — Three to five days 

Ward List: impoverished, wardrobe, mischievous, suf- 
focated, molested, jeers, taunts, targets, depressed, asserted, 
affliction, timid, lustily, kernels, receptacle, plied, cordial, 
festive, anticipation, generous, cauldrons, kneaded, wended, 
confidently, provisions, radiated, discussion, objection, 
latent. 
Assignment of the Story: For reading allow one day. 
Recitation : 

Questions to be Answered Orally or in Writing: 
1. Give reasons why you think Elizabeth was a kind, 
good girl. 



LESSON PLANS— BOOK ONE 67 

2. How did Tom prepare himself to become Mr. 

Underwood's partner. 

3. Why did Mr. Underwood make Tom his partner ? 

4. Why was this a good arrangement for Tom ? 
Literary Studies — To the Teacher: 

Character Study — The appealing description of 
Tom's sensitiveness to ridicule, "Hobbling 
Tom." The teacher might well read to the chil- 
dren of Tiny Tim in Dickens' "Christmas 
Carol." 
Informal Dramatization: 

As the selection is so short, the entire story might 
be dramatized. The need of having the con- 
versation of the characters spontaneous, ex- 
pressing the pupils' own thoughts and feelings 
cannot be over emphasized. 
Oral Reading: 

The twelve pages of this story may well be read 
aloud in one period. The children have been 
made thoroughly familiar with it from every 
angle — the difficult words as well as the thought 
of each page — so the Oral Reading should be 
as natural as the conversation on the play- 
ground. 

THE BROKEN" PROMISE 

Time — Four to six days 

Word List: solace, frivolously, consequences, volun- 
teered, surmised, scouring, ancient, magnificent, lamenting, 
bewildered, disconsolate, cautioned, inquisitive, gorgeous, 
bearded, memorable, ransom, expectation, appreciated, 
queries, stature, divined, providential, proprietor, apologies, 



68 TEACHERS HANDBOOK 

intelligent, gratified, destination, recognized, boisterous, 
cordially, hermitage, bereavement, repentance. 

Assignment of the Story: For reading allow two days. 

Recitation : 

Questions to be Answered Orally or in Writing: 

1. As you finish the story, which character stands 

out in your mind as most "real ?" Why ? 

2. Do you like the way Countess Josephine forgave 

Margaretta's thoughtlessness? Was it re- 
warded ? How ? 

3. Who really did most to return Robert to his 

parents ? 

4. In what part of the story were you most inter- 

ested? Why? 
Literary Studies — To the Teacher: 

Description — Note the freshness of the picture of 
the summer day all so new to Robert as he came 
from the cave. Bring out with the children the 
words and phrases that make the picture of the 
day vivid. 

Interest — Due to the rapid movement of the narra- 
tive, rather than to any particularly thrilling 
incident. 
Informal Dramatization: 

Allow the pupils to choose some one particular scene 
which they would like most to dramatize. With 
this as a basis, plan two more scenes which will 
call for an entirely new ending of the story. 
For example — the scene chosen from the story 
might be the stealing of Robert by the gypsy 
while Margaretta danced with the page. The 
two scenes following, to be entirely original , 
could be perhaps the capture of the gypsy be- 



LESSON PLANS— BOOK ONE 69 

fore she reached her cave, or the finding of the 
cave by soldiers sent to hunt for the baby. Per- 
haps the shepherd who found the boy might 
have been a brother of Margaretta's. Leave 
this problem entirely to the children's own 
imagination. 
Oral Reading: 

It is suggested in this selection that very little time 
be given to the Oral Reading only as in a gen- 
eral review after other stories have been studied. 
The time thus saved might well be devoted to 
the original dramatization as outlined in the 
previous paragraph. 

LIGHT m THE DARKNESS 

Time — Two to three days 

Word List: abstracted, adjacent, deceased, mirrored, 
scanned, transactions, slanderous, accusations, effaced, 
promissory-note, reverence, crevices, alighted, enraptured, 
legality, harbored, justified, denouncing, amends. 

Assignment of the Story: For reading allow one day. 

Recitation: 

Questions to be Answered Orally or in Writing: 

1. What scenes in the story would you like to have 

illustrated ? Imagine you are giving directions 
to an artist and describe two so definitely that 
he could follow your ideas in drawing the 
pictures. 

2. What one incident in the story is most important ? 

3. Can you understand why the heirs of Mr. Nash 

insisted on full payment? Would you have 
done likewise? 



70 TEACHEKS HANDBOOK 

Literary Studies — To the Teacher: 

Description — Sympathetic handling of Mrs. Berk- 
ley's grief at leaving her home. This explain- 
ing what is going on in the mind of one of 
the characters as found on the second paragraph 
of page 207 is very common. Hamlet's 
Soliloquy is perhaps the most outstanding 
example of this. 

Importance of Detail — The significance of the fire- 
fly's flying under the chest is evident. A 
similar example of this in literature will be 
found in the spider weaving the web across the 
cave in which Mohammed was hiding. 
Informal Dramatization: 

Have five students chosen by the class each give a 
short sketch indicating some state of mind. 
Disappointment because they cannot go to the 
circus, sorrow over a lost dog or cat, etc. 
Oral Reading: 

Allow the pupils called upon to read aloud the one 
chapter which they believe they can read best — 
and tell in their own words the contents of the 
other two. Should the pupils choose Chapter 
II, it will be necessary for them to give the 
introduction covering the material in Chapter 
I and close the story in their own words cover- 
ing the material in Chapter III. 

THE GOLD RING 

Time — Five to six days 

Word List: demure, delicacy, deterred, subsided, cor* 
dially, fragrance, upbraided, porcelain, extraordinary, 



LESSON PLANS— BOOK ONE 71 

agitated, deprived, composure, humanity, worsted, initials, 
elated, embroidered, familiarity, capsized, overwrought. 

Assignment of the Story: For reading allow two days. 

Recitation : 

Questions to he Answered Orally or in Writing: 

1. In what ways were Amanda and Grertrude alike 

and in what ways were they different ? 

2. Why were Mrs. West and Mrs. Lawrence such 

good friends? 

3. What one thing in the story did most to make it 

end as it did ? 

4. After you have become thoroughly familiar with 

the story, plan a new title for the picture 
opposite p. 215 as well as the one opposite 
p. 234. 
Literary Studies — To the Teacher: 

Description— Lovely word pictures in which the 
very atmosphere of twilight after a rain is felt 
(see the second paragraph on page 218) or the 
luxury of handsomely furnished rooms (page 
222). 

Phrasing — Have the pupils pick out the phrases 
which seem to them "prettiest." For example, 
"a demure little girl of ten summers" is a 
phrase quite common in literature. Evangeline 
is described as a maid of seventeen summers. 
This is a rather poetic way of expressing the 
very ordinary statement that Gertrude was ten 
vears old. 
Informal Dramatization : 

It is suggested that two casts of characters be chosen 
to dramatize the story : 

1. As it is presented in the book. 



72 TEACHERS HANDBOOK 

2. With as many original variations as can be 
proposed. The remainder of the class should 
be given an opportunity to express their opinion 
freely in deciding which dramatization was 
most interesting — and why. 
Oral Reading : 

Allow as many pupils to read orally the passages of 
most interest to them as the class time will 
permit. 



LESSON PLANS— BOOK TWO 

m THE SEEVICE OF THE KING 
Time — Eight to ten days 

Word List: conspicuous, meagre, vegetables, counte- 
nance, reprimand, hesitation, jaunt, compliance, grandeur, 
astonishment, grenadier, separation, moustached, im- 
patience, perspiration, pensioned, fascinating, achieved, ex- 
tinguished, quaint, myriads, rapture, industriously, 
reverted, unconsciously, conquered, inaudible, laurels, 
partisanship, alluding, solitude, diligent, deliberately, 
ushered, obstacles, communicated, pallor, embarrassed, 
affected, decisive, forfeit, adieu, prophecies, ceremonies, 
homage, zeal, valor, waned, disdainful. 

Assignment of the Story : For reading allow two days. 
The reading of the story should be preceded by a short 
historical sketch of the Seven Years' War (1756-1763) so 
that the pupils may not confuse the incidents of this story 
with the conditions and incidents of the World War. 



LESSON PLANS— BOOK TWO 7:5 

Recitation: 

Questions to be Answered Orally or in Writing: 

1. What qualities in Frederick made him success- 

ful? 

2. Explain why Frederick's father and mother did 

not want him to go into the army, why his 
uncle did, and why he himself was so anxious 
to go. 

3. Do you admire Frederick's loyalty to his family 

in the face of all the military splendor of the 
banquet scene ? What might he have done ? 

4. In what part of the story were you most inter- 

ested? Why? 

Literary Studies — To the Teacher: 

The thoughtful teacher will make every effort to 
place this story in its correct historical setting 
— nearing the close of the Seven Years' War. 
With the story read under these circumstances 
you will find that it will give a very accurate 
picture of human nature. 

Interest — Due to rapid action in the military vein. 

Note — As supplementary material in this connec- 
tion read portions of Edward Everett Hale's 
"A Man Without a Country." 

Informal Dramatization : 

Dramatize only one incident in the story, allowing 
the class to choose it. 

Oral Reading : 

The incident receiving second choice in the selection 
of the incident for dramatization may well be 
read orally. 



74 TEACHERS HANDBOOK 

THE BASKET OF FLOWERS 
Time — Two to three days 
Word List: symbol, garish, florist, comely, threatened, 
conscience, temptation, valuable, exhausted, fragrance, 
mignonettes, accuse, congratulate. 
Assignment of the Story: For reading allow one day. 
Recitation : 

Questions to be Answered Orally or in Writing: 

1. In what ways were Marie and Amanda alike — 

and in what ways different? 

2. As you follow Marie through the story, what one 

quality of hers do you most admire ? Why ? 

3. Were the last two pages of the story a surprise 

to you? How had you expected the story to 
end? 
Literary Studies — To the Teacher: 

Interest — Note the use of the element of mystery 
as to who took the ring to maintain interest. 

Personification— The flowers and moon are con- 
sidered as having the qualities of human beings, 
a sympathy and interest in Marie's distress. 
This personification is very common in 
literature — for example Shelley's "The Cloud." 

Dramatic Quality — Due to the court room scene 
where in a few words Marie is proven innocent 
and Jessie is convicted. The use of the court 
room scene is very common in literature, per- 
haps the most famous handling being found 
in "The Merchant of Venice." 
Informal Dramatization : 

As it will be generally felt that the Court Eoom 
Scene is the most important, this should be 
dramatized with one pupil giving a resume of 



LESSON PLANS— BOOK TWO 75 

the story in such a way that the scene will be 
the climax. If the pupils can suggest a more 
startling way to prove the innocence of Marie, 
use it. Merely as a suggestion, because the 
flowers are here treated as real people, the class 
might prepare a "flower play." Have the 
mignonette, the rose, the forget-me-not, the 
lily as well as other flowers tell the story of 
Marie's trouble, imagining that they were in 
the basket taken to Amelia — and that they saw 
Jessie take the ring. 
Oral Reading: 

It is suggested that the complete story be read aloud 
by those members of the class who seem to have 
the most difficulty in expressing themselves 
orally. This should not be attempted, how- 
ever, until the pupils have become entirely 
familiar with the story. 



OVEE THE SEA 

Time — Seven to ten days 

Word List: prosperous, predicted, bequeath, succession, 
disdainful, speculations, industriously, circumstances, prop- 
osition, suffused, illuminated, extinguished, momentary, 
impelled, asunder, adventurous, appreciation, plantation, 
embittered, slandering, bankruptcy, denouncing, welfare, 
haughtily, salutation, coincided, suspicious, revolving, 
myriads, precipice, abyss, skirmish, impenetrable, un- 
avenged, fraud, plied, filial, contemptible, benefactor, voca- 
tion, hypocrisy, humanity, revealed, aghast, assurance, 
poisonous, speculations, viper, slander, vied. 



76 TEACHERS HANDBOOK 

Assignment of the Story: For reading allow two days. 
Recitation : 

Questions to be Answered, Orally or in Writing: 

1. Was the decision that each of the boys, Albert, 

Andreas and Erich, made at the death of their 
father a wise one? Give reasons for your 
answer. 

2. After the interval of ten years when the boys 

have become men which one do yon like best? 
Why? 

3. Explain why yon like Banty. 

4. Why did Banty feel as he did toward Oscar ? 

5. Were you glad to have the story end as it did? 

6. After you have completely finished the story, 

plan an entirely new page opposite p. 58 with 
a new title for the story and entirely new 
chapter headings. 

Literary Studies — To the Teacher: 

Interest — The story contains descriptions of travel 
and adventure with the element of treachery 
and danger. 
Character Study — The description of the workings 
of Banty's mind, pp. 90-94 as he considers 
Oscar is worthy of careful study. This study 
of a character's frame of mind is used fre- 
quently in literature to give the reader a fore- 
shadowing of future events. 

Informal Dramatization: 

Have the class choose three of the most important 
scenes of the story. With these as a skeleton, 
prepare a complete play of at least four acts 
with as many scenes as the pupils may wish, 
to carry out their ideas. As the story is quite 



LESSON PLANS— BOOK TWO 77 

long this will make it unnecessary to attempt 
to keep the entire story and each incident in 
mind. 
Oral Reading: 

Allow the pupils to select one chapter of the nine 
to read aloud. 



COMRADES 

Time — Three to four days 

Word List : mirrored, graveled, pierced, striving, sickle, 
exertion, cactus, dwarfed, ebbing, accustomed. 
Assignment of the Story: For reading allow one day. 
Recitation : 

Questions to be Answered Orally or in Writing: 

1. What do you most admire about Harry and what 

about Frank? 

2. What kind of a boy was Frank? Why do you 

think so? 

3. Why do you think Frank was so kind to Harry 

at first? 

4. What did Frank gain by his kindness to Harry? 

5. How did Frank win the love of Harry's parents ? 
Literary Studies — To the Teacher: 

Description- — Sympathetic picturing of Harry's 
frailness so often found in literature. For 
example, "The Little Lame Prince." 

Interest — Due to the development of the friendship 
between the two boys. 

Charm — Sweetness of the story rather than ad- 
venture or danger. 



78 TEACHERS HANDBOOK 

Informal Dramatization : 

Allow the pupils to plan the meeting of Frank 
and Harry under entirely different circum- 
stances and have it described. Allow the pupils 
to dramatize the rest of the story. 

Plan an entirely different request that Harry might 
make of his father for Frank's benefit and use 
this as material to be dramatized. 
Oral Beading : 

Plan to have the entire story read aloud, assigning 
parts to each pupil before the reading begins 
so that it may be read as a complete unit. 

THE MESSAGE 

Time — Six to nine days 

Word List : donations, unfortunate, brigands, marauders, 
intrusion, vehicle, co-operated, refuge, arguments, glean, 
encroaching, precaution, detestable, upbraiding, effulgence, 
assailants, unrivalled, infested, forfeit, extravagantly, 
martyr, gorge, attributing, disclosures, mantle, accorded, 
attentively, vengeance, guise, energy, fervent, allay, dis- 
guise, vigil, adorn, talons, soared, accomplices, stalwart, 
hypocritical, exaggerated, impaired. 

Assignment of the Story: For reading allow three 
days. The first reading of the story should be completed 
in two days and the third day should be devoted to the 
marking and re-reading of the passages of description con- 
cerning the characters, the castle and the pilgrims. These 
marked passages should be read so slowly that the pupils 
will have an opportunity to form a definite picture in their 
minds of these mediaeval surroundings. 



LESSON PLANS— BOOK TWO 79 

Becitation : 

Questions to be Answered Orally or in Writing: 

1. What influence did Anges' and Emma's friend- 

ship have on the story? 

2. Who do you think did most to save Knight 

Theobold from his enemies ? 

3. How was Knight Theobold's kindness to Rosalind 

and Emma rewarded? 

4. Why were you glad to have the story end as it 

did? Could you suggest a possible better 
ending? 

Literary Studies— To the Teacher: 

Description — In which is pictured mediaeval life. 
Analogies — Selections from "Ivanhoe" might well 
be read as supplementary material as a help 
to the teacher in creating an understanding of 
mediaeval life. In that section of the story 
where the pilgrims tell of their wanderings, 
reference might well be made to the Crusades 
and additional supplementary material consist- 
ing of stories of the heroes of the Crusades read 
to the pupils. 

Informal Dramatization : 

It is suggested that the class dramatize three of the 
scenes which to them seem most important. 
It will probably be necessary to have one pupil 
describe the setting in which each act takes 
place. This should be done accurately and 
should result in a complete familiarity with 
mediaeval surroundings so common to the 
Waverly novels. 

Oral Reading : 

Allow five children to plan to read sections of the 



80 TEACHERS HANDBOOK 

story which will make it appear as a unit when 
they have finished. 



TO THE RESCUE 

Time — Two to four days 

Word List: cautiously, chuckled, err, legacy, charity, 
prominent, intruding, debtor, amassed, spied. 

Assignment of the Story: For reading allow one day. 
Recitation: 

Questions to be Answered Orally or in Writing: 

1. Study the illustration opposite page 167. Tell 

that part of the story into which the picture 
fits, identifying each character. Suggest a new 
title for the picture. 

2. What one quality of Harold's do you like most? 

Why? 

3. Why did Stephen Werner deserve all the Major 

did for him? 
Literary Studies — To the Teacher: 

Description — Charming picture of a summer morn- 
ing in the forest found in the opening pages. 
Have the children describe a morning in winter, 
spring or fall that they recall as being especially 
beautiful. Give them an opportunity to plan 
and organize their description before giving it 
orally. 

Word Selection — Have the pupils select three or 
four phrases in the story which form for them 
the most vivid pictures. Help them to see the 
importance of the choice of words and have 
them form three phrases of their own where 



LESSON PLANS— BOOK TWO 81 

the words which they choose are used more 
effectively than other words they might use. 
Informal Dramatization: 

Dramatize the cutting of the conversation between 
the Major and Stephen Werner: 

1. Following the book as closely as possible. 

2. Planning an entirely different way in which 

they first met — possibly in a ship wreck. 
Oral Reading : 

Allow each one of several pupils to read that section 
of the story which appeals to him most, explain- 
ing his reason for the choice. 



THE RUINED CASTLE 

Time — Three to five days 

Word List: debris, picturesque, serenity, variegated, 
charcoal-burner, sentinels, vegetation, luxuriant, specimens, 
summit, unsuspecting, apportioned, sustained, thievish, 
compassion, reluctantly, injunction, paralyzed, crevices, 
desolation, exhaustion, humility, furiously, detailed, im- 
prisonment, electrified, relinquished, accumulated, aptitude, 
benefactor, escorted, consequences, afflicted. 

Assignment of the Story : For reading allow two days. 
Have a supplementary report prepared on the process of 
charcoal burning. 

Recitation: 

Questions to be Answered Orally or in Writing: 

1. What pictures stand out in your mind most 

clearly ? Why ? 

2. Put yourself in Xiklas 7 place and explain his 

fright in the dungeon of the ruined castle. 



82 TEACHERS HANDBOOK 

3. Were you sorry for Niklas or did you feel that 

he deserved this experience? Why? 

4. What do you think of the way the Duke's gold 

was spent? How would you suggest spend- 
ing it? 

5. Suggest a new name for the story. 
Literary Qualities: 

Description — Beautiful pictures of the mountain 
home and vivid picturing of the horror and 
fear of Mklas in the dungeon. 

Word Selection — Have the pupils choose three pas- 
sages which to them seem very distinct and help 
them to understand that the use of the right 
word at the right time is of fundamental im- 
portance in effective writing. 
Informal Dramatization : 

Plan an entirely original method of rescuing Niklas 
from the ruin that may be well adapted to 
dramatization. 
Oral Reading: 

Have the first and last chapters read aloud with the 
intervening chapters told spontaneously by the 
pupils. 

THE MIDNIGHT HOUR 

Time — Seven to ten days 

Word List: ministering, emaciated, Swabia, sentiments, 
pious, convulsed, exhorted, carousing, replenish, vestibule, 
impregnable, treacherous, delicacies, deplored, expeditions, 
stupefied, transmute, calamity, descendant, hilariously, 
bondage, mushrooms, anguish, contradicted, stipulated, 
resignation, drudged, inquisitive, palpitating, agitated, 



LESSON PLANS— BOOK TWO 83 

ordeal, atmosphere, diligence, meagre, extinguished, som- 
bre, moat, tenacity, stealthily, exalted, ineffectual, disclos- 
ure, actuate, miraculously, contrition, salutations, averted. 

Assignment of the Story: For reading allow two days. 
Recitation: 

Question to be Answered Orally or in Writing: 

1. Explain why you think this title was chosen for 

the story. What new name would you suggest ? 

2. What do you like most about Edna? Why? 

3. Read parts of the story slowly enough to get an 

accurate picture of the two castles, the moat, 
the dungeon, as well as the people. Select the 
sections that give the most definite descriptions 
and see if you cannot get other suggestions to 
make your pictures more definite and clear. 
Write a description of a mediaeval castle. 

4. Explain why you were glad to have the story end 

as it did. 

5. How did your opinion of Knight Cunard change 

as you finished the story. 

Literary Studies — To the Teacher: 

Word Selection — The choice of words to form the 
picture. "Chained and dejected Knight Egbert 
. . . " etc. Too much emphasis cannot be 
given to the correct choice of words in writing 
or in speaking. 

Description — Further material is here given to make 
the mediaeval pictures more complete. 

Informal Dramatization : 

Plan an entirely different way that Knight Egbert 
might have his castle restored. Allow the 



84 TEACHERS HANDBOOK 

pupils to choose which version of the story they 
wish to dramatize. 
Oral Reading: 
As much of the material may be read aloud as 
time permits. 



LESSON PLANS— BOOK THEEE 

AFTER LONG YEARS 
Time — From four to five days 

Word List: predicament, plaintive, captivity, protrud- 
ing, gratified, corroborated, recommendation, intermittent, 
fascinating, entrancing, ecstatic, ecstasy, aspirations, stipu- 
lated, stupefied, delicacies, hospitably, grandeur, salon, 
transported, voluntarily, ingenious, valiantly, devise, op- 
portunely, miraculous, depleted, privations, fervor, 
recuperate, traversed, devoid, extremity, enthusiasm, 
proffered, diligence, accumulated, tribulations, extensively, 
proficient, adieus, benumbed, visage, transact, urgent, valet. 

Assignment of the Story: For reading allow one day. 

Recitation : 

Questions to be Answered Orally or in Writing: 

1. How did Michael's willingness to aid in the 

incident of the broken wheel open the way to 
future success? 

2. How does the incident of the nightingale show 

that Michael possessed the qualities necessary 
for success? 

3. Why do you like Alfred Banf ord ? How was his 

treatment of Michael rewarded? 

4. Study the illustration opposite page 3. Who are 



LESSON PLANS— BOOK THREE 85 

the men in the foreground? Tell the part of 
the story that is illustrated by this picture. 
Literary Studies — To the Teacher: 

Description — The nightingale's song in the twilight 
is described in an especially beautiful way, 
page 4. 
Historical Value — Chapter III will provide a very 
definite picture of the desolation of Eussia 
which contributed to Napoleon's defeat in his 
invasion of Russia. 
Customs — Note particularly the custom of "ap- 
prenticeship" very common in the old country 
and frequently found in literature. 
Informal Dramatization : 

Plan to have Alfred Banford and Michael Warden 
meet "after long years" under three entirely 
different circumstances. Choose from these 
suggestions whatever material you wish for 
dramatization. 
Oral Reading : 

Devote as much time to this part of the lesson as 
the interest of the class may permit. 

THE CAPTIVE 

Time — Four to five days 

Word List: ancestral, adoration, swarthy, buoyed, 
clerical, deigned, profitably, ushered, soulfulness, exten- 
sively, appreciation, import, requirements, ferocious, estate, 
heroism, caressed, thunderous, reverie, pathetically, dis- 
patched, proclaimed, sumptuous, tuition, emancipation, 
animated, acclamation, instrument, vanity, receded, valu- 
ables, bestowing. 



86 TEACHERS HANDBOOK 

Assignment of the Story: For reading allow one day. 
Recitation: 

Questions to be Answered Orally or in Writing : 

1. Which one of the captives did you think was 

deserving of most sympathy? Why do you 
think so? 

2. How did Antonio's life as a slave prepare him 

for his later success? 

3. Why was Ashmed willing to give Antonio his 

freedom ? 

4. Why did you like the suggestion that Antonio 

made for the spending of the money Ashmed 
offered to him? 
Literary Studies — To the Teacher: 

Interest — Antonio's bravery under all circumstances 

is perhaps of greatest interest. 
Description — Interesting pictures of Salerno, 

Algiers, etc. 
Customs — Note the following conditions frequently 
found in literature: 

Life in the galley, found in "Ben Hur" and 
"Les Miserables." The slave on the auc- 
tion block, found in our own American 
novels of the South. 
Informal Dramatization: 

Dramatize as much of the story as the class time 
will allow, permitting as many variations from 
the actual story as the pupils may wish. 
Oral Reading: 

The amount of time devoted to this part of the 
recitation should be left to the judgment of the 
teacher. It should not be allowed to develop 
into a matter of monotonous class routine, 
however. 



LESSON PLANS— BOOK THREE 87 

THE ARTIST'S MASTERPIECE 
Time — Five to six days 

Word List : majestically, parapet, artistically, abundant, 
invisible, quietude, electrified, florins, niche, conjurer, 
sculptor, uncontrollable, linger, ill-repute, lowering, dirge, 
paralyzed, recreation, ushered, portfolio, ingeniously, de- 
preciation, audacity, accumulated, tolerate, communicate, 
correspondence, feasted, extensively, beadle, disdainfully, 
competent, execution, deputation, festive, inquisitive, 
propriety, assigned, eloquence, affected, creation. 

Assignment of the Story : Eor reading allow two days. 

Eecitation: 

Questions to be Answered Orally or in Writing: 

1. What were the instructions about the Emperor's 

gifts to Hans? 

2. Where did Hans get his idea for the alter which 

was to meet the Counselor's requirements ? 

3. How did Marie prove to be a loyal friend ? 

4. Point out the various things about Hans that 

make him seem like a real boy. 

5. Do you like this story ? If not, explain why. 
Literary Studies — To the Teacher: 

Interest — Because of a sympathetic understanding 
of Hans' great ambition. 

Description — Note the charm of the opening para- 
graphs of the story. Help the children to get 
as definite an idea as possible of the architecture 
of old cathedrals with their wonderful carvings 
of stone and wood. Mention might be made 
of the Cathedral of Reims in its now ruined 
condition. Select particular passages of 
description. 



88 TEACHERS HANDBOOK 

Character Study — The picturing of "real" people. 
Informal Dramatization : 

Dramatize the meeting at the rose bush of Hans 
and Marie and the Emperor. Try to create the 
character of the Emperor through careful study 
so that it will stand out distinctly from the 
other two children. In this work is a splendid 
opportunity for the beginning of the interpreta- 
tion of characters which must be done in all the 
study of literature. 
Oral Reading: 

Limit the selections to be read orally to passages 
containing descriptions. It will be found that 
a good deal of the descriptive material is con- 
tained in passages of conversation. 

THE VINEYARD ON THE HILLSIDE 

Time — Five to seven days 

Word List: obscured, bleachery, submerged, simplicity, 
rivulets, futile, humane, ice-floes, calamity, eminence, 
fidelity, surmise, reverence, transacted, appease, retrieved, 
allowance, sustained, reprimand, chiseled, miraculous, 
divulge, resemblance, disclose, elated, rendered, legacy, 
monotony, credentials, partake, animated, attorney, conjec- 
tured, anticipation. 

Assignment of the Story: For reading allow two days. 

Recitation: 

Questions to he Answered Orally or in Writing: 

1. What is the most important incident in the 

story? Give reasons for your answer. 

2. What one thing about Daniel do you like most? 



LESSON PLANS— BOOK THREE 89 

3. Study the two illustrations carefully and tell 

the parts of the story illustrated. Have two 
or three pupils each tell new stories which these 
pictures might illustrate. 

4. What incident in the story seems to be the way 

most real people would act ? 

5. What sort of a man do you think Mr. Trent was ? 

6. During one recitation period have several pupils 

tell of incidents which this story recalls. This 
is for oral composition. 
Literary Study: 

Interest — In the story of Daniel's rescue and boy- 
hood. 

Description — Have the pupils choose short passages 
containing the most distinct pictures. 

Character Study — The various characters are pic- 
tured in a most life-like and human way. For 
example, pp. 111-112, when Mrs. Swift scolds 
her husband for his apparent extravagances. 
Probably one of the greatest charms of litera- 
ture is a humorous picture of life-like charac- 
ters. 
Informal Dramatization: 

Plan to have Mr. Swift meet Daniel and recognize 
him under entirely different circumstances. 
Dramatize whichever meeting you prefer. 
Oral Beading: 

Allow the pupils to choose two of the seven chapters 
they wish to read aloud, giving the rest of the 
material of the story spontaneously. 



90 TEACHERS HANDBOOK 

THE DAMAGED PICTUKE 
Time — Four to five days 

Word List: heritage, contagious, intuitively, bequeath, 
apparel, diligence, durable, auctioneer, inaudibly, illumine, 
injunction, pitiable, scrutinizingly, assiduously, connois- 
seur, besiegers, chagrined, harmoniously, acceded, dingy, 
sublime, concealed, commodious, urgent, equipped, un- 
abated, "straightened circumstances." 

Assignment of the Story: For reading allow one day. 
Discuss with the pupils some of the best known artists and 
their paintings. 

Recitation : 

Questions to be Answered Orally or in Writing: 

1. What sacrifice did Lottie and Louise have to 

make in order to get the picture? Why were 
they willing to make this sacrifice? 

2. What good fortune came to them as a result? 

3. This artist we are reading of was a "landscape" 

painter. Mention three other well known land- 
scape painters and some of their best known 
works. What other subjects might artists 
paint ? 

4. What is an auction? Dramatize this auction 

scene. 

5. What did you think of Lottie's and Louise's plan 

to surprise their mother upon her return? 
Literary Studies — To the Teacher: 

Note — The artistic theme of the story will make it 
possible for the teacher to introduce some of 
the world's greatest artists and their paintings 
to the pupils. It may seem best to ask for a 
report from each of seven pupils on an artist, 



LESSON PLANS— BOOK THREE 91 

each of a different type. For example, Land- 
seer and Rosa Bonheur as the painters of 
animals ; Inness and Corot of landscapes ; Mil- 
let of the peasant figures ; Sir Joshua Reynolds 
of the portraits. 

Interest — Uniqueness of theme. The method of 
painting a picture over a picture was a com- 
mon way of preserving really valuable works 
of art. 
Informal Dramatization and Oral Reading: 

It is suggested that reports on paintings be given 
the time otherwise devoted to this work. 



MEMORIES AWAKENED 
Time — Three to four days 

Word List: troublous, pestilence, retrieve, oculists, 
cataracts, commercial, prosperous, descended, eminent, 
ancestors, malignant, ushered, tedious, substituted, secreted. 

Assignment of the Story: For reading allow one day. 

Recitation: 

Questions to he Answered Orally or in Writing: 

1. What sort of men are able to meet reverses and 

rebuild their fortunes as the Vollmar family 
did? 

2. In the face of failure do you suppose it was hard 

for Mr. Vollmar to extend his kindness and 
hospitality to the blind man? 

3. What was his reward ? What would he have lost ? 

4. At what particular point of the story were you 

most interested? 

5. Study carefully the illustration opposite p. 146 



92 TEACHERS HANDBOOK 

and tell an entirely new story which this picture 

might illustrate. 
Literary Studies — To the Teacher: 

Plot — The story of buried treasures is a common 

theme in literature. We have Stevenson's 

"Treasure Island," Poe's "The Gold Bug," etc. 
Interest — Due to sympathy, first for Mr. Vollmar's 

business reverses, then pity for the blind man, 

and finally the "awakened memories." 
Informal Dramatization: 

Dramatize one scene of this story giving all the 

necessary details of the theme to make it a 

connected whole. 
Oral Reading: 
Plan to have the pupils read orally the entire story. 



THE INHERITANCE 

Time — Five to six days 

Word List : luxuriously, strenuous, agitation, foundered, 
extinguished, lamented, tempestuous, immeasurable, calam- 
ity, notary, bequeathed, enormous, reprimanded, embezzled, 
renovated, elaborate, rhythm, courteous, apparition, audac- 
ity, deviate, dilemma, devious, revelry, hydrangea, falsify- 
ing, revelations, entrancing, dissuaded, audacious, illumi- 
nated, impertinence, chiseled, restoration, benediction, 
engrossed. 
Assignment of the Story: For reading allow two days. 
Recitation: 

Questions to be Answered Orally or in Writing: 
1. Why did George Acton resent the way his rela- 
tives so soon forgot his father? 



LESSON PLANS— BOOK THREE 93 

2. Why did Lucy deserve the happiness that came 

to her? 

3. What part of the story interested you mostr 

Why? 

4. Suggest two new titles for the story. Let the 

class decide which title is best. 
Literary Studies — To the Teacher: 

Plot — The return of one thought dead is common 

in literature. "Enoch Arden" is perhaps one 

of the best examples. 
Element of Suspense — See the last paragraph on 

page 160 as a specific example. 
Word Selection — Choose passages where the pictures 

are only suggested, rather than made definite. 

This ability to suggest and still not limit the 

picture formed is a characteristic of the best 

authors. 
Informal Dramatization: 

This story offers another opportunity for developing 

composition in dramatic form. The teacher 

will find this story presented on page 118 of 

the Handbook. 
Oral Reading: 

The time devoted to this part of the recitation 

should be determined by the needs of the class 

in the judgment of the teacher. 

HOW IT HAPPENED 

Time — Three to four days 

Word List: discipline, propitious, thunderous, abated, 
tumultuous, starvation, utensils, bevy, perspiration, im- 
measurable, disheartened, deigned, palpitating, torture, 



94 TEACHERS HANDBOOK 

horizon, ascended, captivity, ingratitude, angle, corals, 
volcanic, verdure, precaution, distracted, prophesied, an- 
guish, conjecture, trivial, benefactor, routine. 

Assignment of the Story : For reading allow two days. 
Discuss with the pupils the methods of securing pearls and 
coral. 

Recitation : 

Questions to be Answered Orally or in Writing: 

1. What is there in the description of the storm 

given in the first chapter that makes it seem 
real? 

2. When you consider the material David had with 

him when he landed on the island, what sug- 
gestions could you make to help him to live 
more comfortably? 

3. As you read the story what one situation more 

than any other is most vividly pictured in your 
mind? 

Literary Studies — To the Teacher: 

Interest — The picture of David on the desert island 
will probably be of particular interest to the 
small boys of the class. As supplementary 
reading Defoe's "Bobinson Crusoe" might prove 
most adaptable. 
Word Selection — The picture of desolation formed 
"lying there at his very feet and on every side — 
the immeasurable sea," the sunset, "gold 
rimmed rays of purple and red." 

Informal Dramatization: 

Dramatize David's return, having David tell of his 
experiences on the island. Because this adven- 
ture is of such interest to the boys of the class 
"David" should be able to talk naturally and 
spontaneously. 



LESSON PLANS— BOOK THREE 95 

FROM EOYAL PALACE TO LOWLY HUT 

Time — Six to eight days 

Word List: charitable, counterpart, revolutionary, tur- 
moil, operatic, ransacked, equality, magistrate, decree, 
meagerly, reverie, recreation, diversions, extinguished, sen- 
tinel, detected, capsized, allay, economize, interminable, 
temporary, contentment, fancier, unanimous, vehicle, 
diagnosed, palpitating, regaled, answerable, anticipated, 
oppressors, reuniting. 

Assignment of the Story : For reading allow two days. 
In connection with this story it would be particularly 
valuable to discuss with the pupils France at the time of 
the French Revolution. The actual history of the period 
may be considered, while for supplementary reading 
Dickens' "A Tale of Two Cities" will furnish entertaining 
descriptive material. 

Recitation : 

Questions to be Answered Orally or in Writing: 

1. Describe the home life of the Berlow's and their 

interests and tastes. 

2. Which character did you feel most sorry for in 

this story? Why? 

3. Did you like Count Berlow? Why? 

4. Study the three illustrations carefully. You will 

find interesting details. For example, Albert 
is writing with a quill pen. Wliat other things 
can you find to comment upon ? 
Literary Studies — To the Teacher: 

Description — Realistic picturing of the French 
Revolution to be supplemented by cuttings from 
novels of that period, read to the class. 

Note — Merely as a suggestion and if time permits 



96 TEACHERS HANDBOOK 

when the culture of the Berlow home life is 
discussed, it may be wise to read to the class 
some of the stories of the greatest operas, men- 
tioning the composers and some of the most 
famous selections. 
Informal Dramatization: 

Have the entire story dramatized, cutting it down 
to not more than three scenes. This will 
require careful planning. 
Oral Beading: 

The teacher may select portions from each chapter 
to be read orally, requesting some other member 
of the class to continue telling the story from 
the point of the last reading to the reading next 
to be given. 



THE UGLY TEINKET 

Time — Three to four days 

Word Last: solitary, covetous, suffice, quietude, reno- 
vated, invalid, bequeathed, riveted, inscriptions, cherished, 
sojourn, memento, derive, benevolence, security. 

Assignment of the Story : For reading allow one day. 

Recitation : 

Questions to he Answered Orally or in Writing: 

1. Write in class a description of a cathedral. 

2. What would you have chosen instead of the locket 

had you been in Amy's place ? Why ? 

3. Did the last chapter of the story surprise you? 

Why? 

4. What is there about Amy you like most ? 



LESSON PLANS— BOOK THREE 97 

Literary Studies — To the Teacher: 

Interest — Emphasize the elements of interest as the 
sympathy the reader is made to feel for Amy, 
the interest in her choice of the trinkets, the 
happy surprise, etc. 

Description — The beauty of the cathedral, p. 233, 
that is indistinctly sketched in the first para- 
graphs, leaving it to the imagination to com- 
plete the picture. 
Informal Dramatization: 

Dramatize the entire story: 

1. As nearly like the story itself as possible. 

2. As an original play with only one thing the 

same, the adoption of Amy by Mrs. Linden, 
as a basis. 
Oral Beading : 

Plan to have the entire story read, assigning each 
section to members of the class before the reci- 
tation begins, so that it may be read smoothly 
and without interruption. 



98 TEACHERS HANDBOOK 

MODELS FOB DRAMATIC COMPOSITION 

THE CHOICE 

Book One — Page 75 

Persons 

The Father The Mother Fred Eobert Elsie 

Paul The Grandmother The Overseer 

Act I — Scene I 

Place — A living room in a home in the country. 
(Father, Mother, Fred, Robert and Elsie all present.) 

Father (uncovering a child's savings bank) : Come, my 
children, and see your Christmas present. It is a savings 
bank, and I will give you each some money to put in your 
bank to start your savings. I think it very important that 
you should learn the value of earning and saving money. 

Fred (the oldest child): Thank you, father. 

Eobert: You are very kind, father, and I will save all 
you give me. 

Father: But I do not promise to give you the money 
to put in the bank. I wish you to earn the money your- 
selves. 

Fred: How can we earn money, father? 

Father: When you are older you may do some work on 
the farm for me and I will pay you justly for it; and I 
will give each of you a plot in our garden and you may sell 
what you raise and put the money you get for your produce 
in the bank. 

The Three Children: Oh, thank you, father! We will 
try to earn and save, but how can we get money now to put 
in our bank ? 



MODELS FOR DRAMATIC COMPOSITION 99 

Father: I do not like to have you think that I will pay 
yon for doing right, but if you boys get good reports for 
your conduct and work in school each month, I will give 
each of you some money to put in your bank. 

Elsie: But I am not old enough to go to school. How 
can I get money ? 

Mother: I know a little girl who sometimes forgets to 
put her playthings in their proper place when she is done 
with them and she often has to be told to be more careful 
and wash her hands. 

Elsie: Oh, I know, I am that girl, mother. 

Mother: Yes, my dear, but if you will try hard to do 
better, I will give you a little money every Saturday to put 
in the bank. 

Elsie: Oh, mother, I will try. 

Fred: Will you not buy a bank for each of us, father ? 

Father: No, my son, I prefer to give you a larger bank 
so that you may have one fund and together decide how to 
spend it. What would you like to do with the money you 
save? 

Elsie: We could buy candies and nice things to eat. 

Robert: But then all our money would soon be gone, 
and we would have nothing to show for it. 

Father: Eight, Robert, I gave you the bank to teach 
you how long it really takes to save money and how unwise 
it is to spend it carelessly. Mother and I wish to train you 
to depend on yourselves and not to expect us always to give 
you money when you wish it. 

Robert: I tell j r ou. Let us buy a cart and a goat to 
draw us around. 

Fred : We had better save till we can buy two goats and 
they would draw us better than one. 

Robert and Elsie: Yes ! Let us have two goats. 



100 TEACHERS HANDBOOK 

Father: I think you are right. It will take you longer 
to save the money, but two will be better than one. 

Robert: Let us have a cover on the wagon and we can 
drive in rainy weather. I will sit in front and drive, Fred 
and Elsie can sit inside and Fred can pretend he is grand- 
father. 

Fred: No! I'd rather be the driver, you be grand- 
father. 

Robert: No, I had better drive, because you catch cold 
so easily. 

Fred: I am not afraid of catching cold, I am the oldest 
and I should drive. 

Robert: Because you are older you are most like grand- 
father, so you should be grandfather and sit inside. 

Father: You had better wait till you get the goats and 
wagon and then take turns in driving. 

Fred: Father, what kind of people have come to live in 
the little house on our farm ? 

Father: A very good woman and her little grandson 
about your age, Fred. She is a poor woman and her grand- 
son, Paul, cares for her one cow and sells the milk. The 
money for the milk is her only income. I think Paul is a 
good boy and I hope you will be kind to him. 

Fred and Robert: We will, father. 



Act II — Scene I 

Place — A road near the widow's house the following Spring. 
(Fred, Robert, Elsie together and Paul enters.) 

Fred: Good morning, Paul. We are glad to meet you. 

We are going for a walk, would you like to come with us ? 

Paul: Indeed I would like to go with you, but I cannot 



MODELS FOR DRAMATIC COMPOSITION 101 

go. I have to milk Bess, my cow, and sell her milk for my 
grandmother. 

Robert: Does she give much milk? 

Paul: Oh, yes! I should say so, and all the people to 
whom I sell it like it. Bess is a beautiful cow. I have a 
bank and whenever I get a penny for myself I put it in my 
bank to buy a collar and bell for her. I love good Bess. 

Elsie : Have you much money in your bank ? 

Paul: I have nearly a dollar, but it will take a good 
deal more to get the collar and the bell. 

Fred: We have a bank, too, and we are going to buy a 
wagon and two goats to draw us. What is that you have in 
your hand? Is it for Bess to eat? 

Paul: No, it is a plant I gather for my grandmother. 
She sells it to a druggist and the money she gets for me 
I put into my bank. 

Fred: We are glad to know you, Paul, and we will come 
to see you often and help you to gather the plant that your 
grandmother sells to the druggist. 

Paul: Thank you, you are very kind. 

Elsie: I will help you too, Paul. 

(Curtain should drop for a few seconds,) 



Act II — Scene II 

Place — A road near the widow's house one year later. 
(Fred, Robert, Elsie and Paul in a group.) 

Fred: Why, Paul, we have not seen you all winter. 
Have you got money enough to buy the collar and bell for 
Bess? 

Paul: No, not yet. 



102 TEACHEES HANDBOOK 

Robert: It won't be long before we can buy our wagon 
and goats and then we will drive like princes. 

Elsie: Bess must have her bell soon and then we can 
hear where you are and drive to see you. 

Robert: You are going to get Bess her bell, are you not ? 

Paul: No. 

Fred: I think you are mean. 

Robert: If I were Bess I would not like you another 
minute. 

Paul: I cannot help it. I have a good reason. 

Fred: A good excuse, you mean. 

Robert: You're a miser. 

Paul: No, I am not that. I love my Bess much more 
than I can tell, but I love my grandmother more. She fell 
on the ice and broke her leg. She grew sick and weak. I 
spent all my money for medicine and fruit for her. 

Elsie: Did the fruit do her good ? 

Paul: Oh, yes, but it is all gone now. 

Robert: Do you know, I like Bess better without a 
collar. 

Elsie: I, too, like her better this way. 

Fred: The bell might have frightened Bess. 

Paul: Thank you for trying to comfort me. 

Fred: We have plenty of fruit at home. I am sure 
mother and father would like us to bring some for your 
grandmother, if she would accept it. 

Paul: Oh, you dear, kind friends! Now my grand- 
mother will get better. 



MODELS FOR DRAMATIC COMPOSITION 103 

Act III — Scene I 
Place — The same road two weeks later. 
(Paul crying alone when the curtain rises. The other three 
come on together.) 

Fred: Why, Paul! What is the matter? Is your 
grandmother dead? 

Paul: No! My grandmother is much better since your 
mother began so kindly to send her fruit every day. But 
Bess is dead. She ate some plant that poisoned her. 

Elsie: Don't cry, Paul. Bess was a beautiful cow, but 
there are other cows. 

Paul: Not for us. We can never buy another. Bess 
helped to support us. Now we may have to move because 
we cannot pay the rent. 

All the Three Children: Oh, I hope not, Paul. 

Fred: We will go and tell our father that Bess is dead. 
I am sure he will let your grandmother and you live on in 
the house. 

Act III — Scene II 
Place — The living room of the children's home. 

Fred: Oh, father! Paul's beautiful cow has been 
poisoned, and she is dead. 

Robert: You will send them another cow, won't you? 

Elsie: A real nice one — the very best you can get. 

Father: No ! I am very sorry, but I am not rich enough 
to send a cow to every poor person who needs one. I have 
to support you and your mother from my farm, and what 
I have left I must share with many poor people. I cannot 
bear the expense of a cow. 

Fred: The dealer is coming today with our two goats. 

Elsie: Oh ! I wish the goats could turn into a cow. 



104 TEACHEES HANDBOOK 

Fred: "Wouldn't it be fine! Then we could milk her 
and give the milk to Paul and his grandmother. 

Robert: But you could not drive around with a cow. 

Fred: If I could make Bess alive again I would not 
care about driving around town. 

Robert: But you cannot do that. 

Elsie: I suppose there are cows almost as nice as Bess. 

Fred and Robert: Hurrah for Elsie ! Let us buy a cow 
for Paul instead of the goats. Do you agree, Elsie ? 

Elsie : Of course I do. How grand ! 

Robert: It was you, Elsie, that gave us the thought. 

Fred: I will call father and we will ask him if we may 
buy a cow for Paul. (Exit Fred, who soon returns with 
his father.) 

Robert: Do not be angry with us, father. We would 
like to buy a cow for Paul. May we ? 

Father: With what? 

The Three Children (excitedly): With the money in 
our bank. 

Father: Then you cannot have any goats or wagon. 

Fred: That does not matter. 

Robert and Elsie: No, father, that does not matter. 
Please let us buy the cow for Paul and his grandmother. 

Father: You will be too old to ride behind goats before 
you can save enough again to buy them. Think it out well 
before it is too late. 

Fred: Father, I do not want the goats. I would rather 
help Paul and his grandmother. 

Father: I am very happy, too, my dear children. I will 
ask my overseer to buy you a good cow. 

The Three Children: Oh, thank you, father, we will 
ask him to get one as much like Bess as possible. 

(Curtain falls.) 



MODELS FOR DRAMATIC COMPOSITION 105 

Act IV — Scene I 

Place — The same living room. 

(The Overseer, Father and the Three Children all present.) 

The Overseer: I found a good cow for you and her name 
is Bess. 

The Children: Oh, how fine! 

The Overseer: She cost a lot of money, but there will 
be some left in the bank. 

Father: That will do to start a new account. 

Elsie: No! No! Father. We must buy a collar and 
bell for Bess, just as Paul wished. 

Both Boys: Oh, Elsie, you're a dear! 

Elsie: Will there be enough money to buy a pail? 

The Overseer: Yes, there will be enough. 

Elsie: Then let us buy a pail. 

The Boys: Elsie, you are great! 
(Curtain falls.) 

Act IV — Scene II 

Place — The kitchen in Paul's cottage. 

(Paul is seated at a table writing, weeping. Suddenly a 
sound of a cow tell is heard and Fred, Robert and 
Elsie come rushing in, Elsie carrying a pail.) 

Fred: Paul! Where are you, Paul ? We have brought 
you a new Bess and a pail and some hay. Look out of the 
window and see your new cow. (Paul looks.) 

Paul: Oh, thank you! Thank you! She is a beauty. 
She is like mv old Bess. 

Elsie: Do you like her, Paul? We bought her with the 
money in our own bank. 



206 TEACHERS HANDBOOK 

Paul: Oh, yes! I can never thank you enough. Why 
the bell sounds like the organ in the church. Grandmother ! 
Come and see our new cow. 

Grandmother (after looking out of the window) : God 
has answered my prayers. He has sent us help by His 
angels. Does the cow give milk ? 

Fred, Robert and Elsie: Yes! 

Grandmother : Where did you get the money? 

The Three Children: Out of our bank. 

Elsie : It is empty now, but we will begin again. 

Fred: It was a good bank. We never had such joy 
before, and we must thank the bank. 

Paul: But I am so sorry you cannot have your wagon 
and your goats. 

Fred: But it makes us happier to give the cow to you 
and your grandmother than to have the goats and the 
wagon. 

Robert: Yes, indeed, Paul; I am happier than I ever 
was before. 

Elsie: So am I. I am so happy because you and your 
grandmother are so happy. 

Paul: You have made me the happiest boy in the land. 
I can scarcely tell the cow from Bess. I am going to work 
hard and I will do all I can to make poor people happy 
when I grow up. 

The Other Three Children: So will we. 

Grandmother: God bless you all. You have been a 
true blessing to Paul and me. I never felt so much like 
singing, "Praise God from whom all blessings flow." 

The Three Children: We never knew before The Joy 
of Giving. 

(Curtaiii falls.) 



MODELS FOR DRAMATIC COMPOSITION 107 

THE MIDNIGHT HOUR 

Book Two— Page 201 

Persons 
Knight Egbert Knight Cunard, an enemy of 

Edna, his daughter fifteen Knight Egbert's 
Branton, an old man The Gatekeeper 

His Wife The Gatekeeper's Wife 

His Daughter, Anna The Gatekeeper's Children 

Lady Cunard 

Act I — Scene I 

Place — A room in a castle. 

(Knight Egbert has been severely wounded in his right 
arm, which he carries in a sling. Knight Egbert and 
Edna are together. Enter Branton.) 

Branton: Sir Knight, the Duke asks you to come as 
soon as you can with your soldiers. 

Knight Egbert: Tell the Duke, my brave Branton, that 
I have not recovered from my wound, so I cannot go. I 
wish I could help the Duke. Tell him I hope to be able to 
come in a month. (Exit Branton.) 

Edna : My dear father, please tell me about Mr. Branton. 

Knight Egbert: Gladly, my daughter. He has long 
been one of my strongest and bravest men. First I must 
tell you about Knight Cunard of Fitzburg. His great 
fortress with it tall towers may be seen from our upper 
windows. You have never met him because long before 
your mother died he was my enemy and has been ever since. 
He hated me because the great Duke liked me more than 
him. Then I beat him at a shooting competition and he 
was angry because I got the first prize. It happened one 



108 TEACHERS HANDBOOK 

day that Mr. Branton, one of my best men, shot a deer in 
my forest near Knight Cunard's property. In revenge 
Knight Cunard and his men captured Mr. Branton and 
dragged him away. When Mrs. Branton told me I started 
with some of my men and caught up with Knight Cunard's 
party when he and his men were in a hotel drinking. We 
found Mr. Branton tied and lying in a cart. I cut the ropes 
that bound him and galloped home with him to our castle. 
I saved Mr. Branton's life and gave him a place to live on 
my estate, as far as possible from Knight Cunard's castle. 
Knight Cunard hated me more than ever before, because 
I rescued my true friend, Mr. Branton. 



Act I — Scene II 

Place — Same room in the castle. 
(Knight Egbert, Edna and Knight Cunard together.) 

Knight Egbert: Edna, my dear daughter, I have but 
a few moments to tell you that some of my guards have 
proved to be traitors. They opened one of the gates and 
admitted Knight Cunard and his men. They seized me 
and have bound me as you see. They are now drinking 
my wine and I am to be confined in Knight Cunard's great 
castle. 

Edna: Oh, father dear, how long? 

Knight Egbert: Probably to the end of my life. 

Edna: I must go with you, father. I canot live without 
you, now that mother is dead. 

Knight Egbert: Knight Cunard will not permit you 
to live in his castle with me. We must part. 

Edna: Do not speak of parting, father. I must go. 
(Enter Knight Cunard.) 



MODELS FOR DRAMATIC COMPOSITION 109 

Edna: Oh, Knight Cunard, please let me go with my 
father. 

Knight Cunard: No, you cannot go. Come, Knight 
Egbert, I have long wished to capture you ; I have you now. 
Come along with me to the prison in my castle. Follow me. 

Knight Egbert: Let me kiss my dear daughter and I 
will go with you. May I not give my innocent child some 
advice? Her mother is dead. 

Knight Cunard: I will return in a few minutes. Be 
ready ! (Knight Cunard retires,) 

Knight Egbert: Edna, my darling daughter, you must 
fly at once from the castle. Go to the home of Branton, my 
honest woodman, and my friend. There you may be safe. 
Be like your lost mother and do what she would wish you 
to do if she were alive. Do not be ashamed of working. 
Goodness, innocence and tenderness are better than riches. 
If I die, my last hours will be comforted by the thought 
that I have a good, true daughter. 

Edna: Oh, father dear! I will be good and true and 
I will always love you. 

Knight Egbert: Thank you, my child. You make me 
happy even in this dreadful hour. I hear them coming. 
Kiss me, my darling. (Enter Knight Cunard and some of 
his men. Edna clings to her father, weeping.) 

Edna: Oh, Knight Cunard, please let me go with my 
dear father. 

Knight Cunard: You cannot come. (To his men) Take 
her away and bring him along. (They pass out while Edna 
sobs aloud.) 



110 TEACHERS HANDBOOK 

Act II — Scene I 

Place — A strange road far from the castle. 
(Edna meets Branton, the woodman, with his axe.) 

Edna: You are my father's woodman. I am Knight 
Egbert's daughter. 

Branton: Yes, child, I am Knight Egbert's woodman. 
You must be lost ; I will take you to your good father. 

Edna: Oh, Mr. Branton! You have not heard that 
Knight Cunard, my father's enemy, has taken my father 
away to prison in his castle. 

Branton: No, I did not hear. How did Knight Cunard 
get into your castle? 

Edna: Some bad guards admitted him by opening a 
gate for him and his men. 

Branton: What wicked guards! My dear child you 
must come to my house. We will protect you. 

Edna: My poor father told me to come to you and you 
would take care of me. 

Branton: So will I. Your father saved my life whea 
Knight Cunard had me tied in his cart taking me away 
to kill me. I would die for your father. So would my wife 
and daughter. Come with me. 

(Curtain falls.) 

Act II — Scene II 

Place — Branton's cottage in the wood. 
(Edna, Branton and his wife and daughter.) 

Branton: Dear wife and daughter, I have sad news. 
Knight Cunard has captured Knight Egbert and taken him 
to prison. This is Knight Egbert's daughter. Knight 



MODELS FOR DRAMATIC COMPOSITION 111 

Egbert told her to come to us. We will welcome her to our 
little home, will we not? 

Mrs. Branton and Her Daughter: Yes, indeed we will. 

Branton: We will do all we can to make you happy 
for your good father's sake. Do not fear, God will save 
your father. 

Edna: Oh, I wish I could help to save him. 

Branton (clapping his hands): I have a plan. There 
are many fine mushrooms in the forest. I will gather them 
every day for you and you may go to Knight Cunard's 
castle to sell them. They like mushrooms very much at 
the castle. You might get acquainted with some of the 
servants and thus learn something about your father. 

Edna: Oh, I am so glad. I will go tomorrow. Even 
to be near my father will make me happy. 

(Curtain falls.) 



Act II — Scene III 

Place — Branton's cottage in the wood. 
(Edna dressed as a peasant girl with a basket of mushrooms. 
Branton and his wife and daughter, Anna; the gate- 
keeper and his wife.) 

Branton: I hope you may succeed. 

Edna: It will mean so much if I do. 

Mrs. Branton: Anna will go with you till you get near 
the castle. Do not be afraid, my dear. Anna will wait for 
you till you come back. 

Edna: Oh, thank you. Let us go, Anna. (They start 
on their journey.) 

Anna: I know a place where I can wait in safety not 
far from the castle, Edna, and I will knit till you return. 



112 TEACHERS HANDBOOK 

Edna: You are so kind. I hope I may bring good news 
when I come back. C4oodbye. (Edna approaches the castle 
gate as the gatekeeper opens the gate.) 

Gatekeeper: What do yon come here for, little girl? 

Edna: If you please, sir, I would like you to buy my 
fine mushrooms. 

Gatekeeper: They are excellent mushrooms. What do 
you want for them? 

Edna: What you think they are worth, sir. I am sure 
you would not pay me too little. 

Gatekeeper: Well said. Wait here till I take them into 
the castle. They have not had any for a long time, and 
I am sure they will be glad to get them and pay you a fair 
price for them. 

Edna: Thank you. May I play with your two children ? 

Gatekeeper: Yes, dear, you may. They are fond of 
play. (The gatekeeper goes into the castle and Edna plays 
with the children, who are very happy. Enter the gate- 
keeper's wife.) 

The Wife: Who are you that you dare sit at my door? 
What are you doing here ? Hurry away. 

Gatekeeper: Do not be unkind to the litle girl. I 
offered her the seat while I went into sell her mushrooms. 
Do not be hasty. I was wondering if she would like to be 
a servant in our house. If you are cross no one will like to 
stay with you. 

The Wife: That explains it. You must forgive me, my 
child, but it is our duty to watch the gate. 

Edna: I am sorry to cause you any trouble and I beg 
your pardon. 

The Wife: I am glad you are a thoughtful, polite girl. 
You must stay and have dinner with us. 

Edna: Thank you! You are very kind. I will stay. 



MODELS FOR DRAMATIC COMPOSITION 113 

The Wife: My children seem fond of you and I like 
you, too. Would you not like to live with me in service ? 

Edna: Yes! With all my heart I will stay and I will 
serve you faithfully. 

The Children: Hurrah! You will play with us some- 
times, will you not ? 

Edna: Yes! When your mother can spare me. 

The Wife: Very well! Go home and tell your people. 
If they are willing, come back in a week. (Edna takes her 
empty basket and goes out.) 

(Curtain falls.) 

Act III — Scene I 

Place — The gatekeeper's cottage near the castle gate. 
(Edna, the gatekeeper and his wife together.) 

The Wife: I am glad to see you back, my children have 
asked about you many times since you were here. 

Edna: I am glad, too, to come back to you and your 
kind husband and your children. 

Gatekeeper: You will prepare the meals for the pris- 
oners, Edna. 

Edna: Might I sometime see the prisoners? 

Gatekeeper: No, you must not be too curious. 
(Curtain falls.) 

Act III — Scene II 

Place — The same cottage a week later. 
(Gatekeeper, Edna and Knight Egbert in conversation.) 

Gatekeeper: Edna, I am compelled to go with Knight 
Cunard on a long journey tomorrow and I will be away 
several days. My wife does not like to take meals to the 



114 TEACHERS HANDBOOK 

prisoners. I wish you to take their meals to them, so you 
will come with me now to see the cells so you will learn 
how to bring them their meals. 

Edna: Do you go into their cells? 

Gatekeeper: No! Only into one cell. One good man 
is in prison here, Knight Egbert. I go in to see him when 
I take his food and you may do so too. Let us go. (Cur- 
tain drops and rises again as soon as Knight Egbert's room 
is ready. The stage should he darkened.) 

Gatekeeper: I have brought our servant to show her 
how to bring your meals because I have to be away for 
several days. She is a good girl and I can trust her. 

Knight Egbert: I have a daughter about your age. Oh, 
how I wish I could learn how she is. She was a good 
daughter. I hope you will be as good as my Edna, my dear. 
(Edna sighed heavily. Knight Egbert continued.) Have 
you any sorrow? What makes you sigh so heavily? 

Edna: My father has been separated from me. 

Knight Egbert: I hope you may find him soon. You 
have a very tender heart. 

Gatekeeper: Indeed she has, entirely too tender. Do 
not cry so much, or I cannot let you fill my place. 

Knight Egbert: Bear up, dear child. 

Edna (kissing his hand): Thank you, I will try to 
do so. 

(Curtain falls.) 

(After a short interval it rises again. Knight Egbert is 
alone when Edna comes to see him.) 

Edna: You seem so fond of your daughter that I came 
to bring you news of her. 

Knight Egbert: From my dear Edna? If you could 
do that you would be as welcome as an angel. Tell me, 



MODELS FOR DRAMATIC COMPOSITION 115 

tell me, do you know her? Have you seen her? Speak! 
Speak ! 

Edna: I can give you news of her. See ! Do you recog- 
nize this badge and chain ? 

Knight Egbert: Yes, this badge is mine, which I gave 
her when we parted. You must know her well, for she 
promised to keep it always. 

Edna: She did keep it, father. I am Edna, your 
daughter. 

Knight Egbert: You! Oh, now I see, you are my 
daughter disguised. Come to my arms. Tell me, how 
did you get here. 

Edna: I came to sell mushrooms and the wife of the 
gatekeeper liked me and asked me to serve her, and I am 
doing so. You told me to work and I am doing so. My 
mistress is away till tomorrow and I am free except when 
preparing meals for the prisoners, so I will clean out your 
cell today and spend the day with you. 

Knight Egbert: What a good daughter I have. 

Edna: What a kind, good father I have. 

Act IV — Scene I 

Place — A room in Knight Cunard's castle. 

Lady Cunard (to servant): Go to the Gatekeeper's 
lodge and bring the girl to me that saved my dear little 
son Arnold from drowning when he fell into the deep ditch. 
(Enter servant with Edna.) Dear girl, how can I thank 
you enough for risking your own life to save my son, my 
darling Arnold? Your noble act must not pass unre- 
warded. How brave you were. Let me kiss yon. What 
joy you have given me. Ask what you will and I will 
give it to you, if in my power. 



116 TEACHERS HANDBOOK 

Edna: Thank you, Lady Cunard. I gladly accept your 
kind offer. (Exit Edna.) 

(Curtain falls and rises again when an old servant is seen 
with Lady Cunard.) 

Act IV — Scene II 
Place — Same room in Knight Cunard's castle. 

Servant: Lady Cunard, it is my duty to tell you that 
a young girl visits Knight Egbert every night and holds 
long conversations with him. I fear he is plotting to 
escape. 

Lady Cunard: I will watch tonight and listen at the 
door and hear what they say. Then I will know how to act. 

(Curtain falls.) 

Act IV — Scene III 

Place — Same room in Knight Cunard's castle. 
(Knight Cunard and his Lady in conversation.) 

Lady Cunard: I am so glad you have returned. A little 
servant in the Gatekeeper's house saved our dear little 
Arnold from drowning at the risk of her own life. Our 
butler told me she spent a part of her time each night talk- 
ing with one of the prisoners. I hid and listened to the 
conversation between her and the prisoner. I learned that 
she is the prisoner's daughter and I heard her tell him 
about saving Arnold's life. He praised her highly for her 
bravery and said that although you are his enemy he was 
glad she saved your son. He said no word in anger about 
you but praised her for risking her own life to save the 
child you love. 



MODELS FOR DRAMATIC COMPOSITION 117 

Knight Cunard: I hope you rewarded her. 

Lady Cunard: I left that for you to do. 

Knight Cunard: Then have her brought at once. (A 
servant enters with Edna.) 

Knight Cunard: My brave girl, I owe you my thanks. 
Without your help I would have been very unhappy at the 
loss of my darling boy. Ask me what you will and you 
shall have it. 

Edna: I ask but one thing, freedom for my dear father, 
Knight Egbert, that he may return to his castle. 

Knight Cunard: Gladly I grant your request. I am 
sorry for my shameful quarrels with your father. Remain 
here with my wife and I will bring your father to you. 
(Exit Knight Cunard who soon returns with Knight 
Egbert.) 

Knight Cunard: Knight Egbert, your brave daughter 
saved my boy and for her noble action I present her father 
to her as a free man, and if you will allow me to take your 
hand, I will express my deep sorrow for the pain I have 
caused you and ask you to accept my true friendship for 
the rest of our lives. 

Knight Egbert: Friendship is sweeter than enmity. 
Here is my hand, let us be friends. 

Edna: Oh, I did not know that I could be so happy. 

Knight Cunard: You deserve to be happy. Your 
bravery made me happy; and I am happier because your 
father and I are to be friends. 

Knight Egbert: And I, too, am happy because my 
enemy is now my friend and because I have so true and 
noble a daughter. 

Knight Cunard: Your daughter refused a present for 
her bravery while I was her father's enemy. I hope she 
will accept this chain and star from her father's friend. 



118 TEACHERS HANDBOOK 

Edna: I will now accept it and wear it. It will remind 
me of the happiest day of my life. 

Knight Cunard: Now I will have you driven home in 
my best carriage. 

Knight Egbert: Thank you. 

Edna: I too thank you. I will now say good-bye to my 
mistress, the Gatekeeper's wife, I hope you will come to 
see my father and bring your lady and your little son. 

Knight Cunard: If your father approves, I will come. 

Knight Egbert: Come my friend. 
(Curtain drops.) 

THE INHEEITANCE 

Book Three— Page 149 

Persons 

Mr. Acton Mr. Eichmond A Sailor The Butler 

Mr. Bond Six Relatives George Acton 

Miss Bond Lucy Eichmond Guests 

Act I — Scene I 

Place — A room in Mr. Acton's home. Mr. Acton is seated 
before the fire. 

(Enter Mr. Richmond.) 

Mr. Richmond: Good evening, Mr. Acton. Here are 
some letters a messenger has just brought to your store. 

Mr. Acton (glances quickly at the addresses and then 
opens one) : This is dreadful news. 

Mr. Richmond: Do tell me what has happened. 

Mr. Acton: Dear Mr. Eichmond, I am afraid my son, 
George, has been drowned. The vessel he sailed on has 
sunk in the channel. Oh, my dear good son is drowned* 



MODELS FOR DRAMATIC COMPOSITION 119 

Mr. Richmond: Perhaps your son is among those saved, 
or possibly he did not embark. 

Mr. Acton: You do kindle a spark of hope, my dear 
Mr. Richmond, but I fear there is little hope. Please 
telegraph to the steamship office and get all the information 
you can. (Mr. Richmond leaves. Mr. Acton walks up and 
down in great anxiety, saying, "My poor son, my dear 
hoy.") 

Mr. Richmond (returning) : It is too true. George 
was on the vessel and he is lost. 

Mr. Acton (sinking on a chair) : My dear son, my only 
child is dead. 

Mr. Richmond: There is a sailor from the ship in the 
hall. He can tell the sad story. 

Mr. Acton: Bring him to me. Oh, my dear George — 
(vome in Sailor. Were you on the ship ? 

Sailor: Yes, Sir ! We had the worst storm I ever saw. 
It came about midnight and in less than two hours it had 
seriously damaged the ship and driven us out of our course. 
Suddenly we crashed upon a rock and the ship foundered. 
Only two passengers, the helmsman, seven other sailors and 
I were saved. The loss of your son was deeply regretted by 
all who were saved. He was such a kind and manly young 
man. I saw him near the bow of the vessel just before the 
storm struck, but I saw him no more. I found this wallet 
as I came down from the rigging. It contains letters from 
you to your son, and money. That is why I brought it 
myself. 

Mr. Acton: Thank you. I am deeply indebted to you. 
I am glad my dear, good son kept my letters. Take this 
money for your love for my son and your honesty in bring- 
ing the wallet to me. Lay the money by for your old age. 
Good bye. (The sailor retires.) 



120 TEACHERS HANDBOOK 

Mr. Acton to Mr. Richmond: Dear Mr. Richmond, I 
am an old man. I have not been well. I fear the shock 
of my son's death may hasten mine, as my heart has not 
been right for some time. You have been a very faithful 
servant for many years. I wish to provide well for you 
and your family and for all those who worked in my store. 
Write down the amounts I name for each and give the list 
to my lawyer tomorrow. The rest of my money would 
naturally go to my relatives, but I know they would not 
make good use of it and so I will leave it for a nospital and 
other charitable purposes. Come in the morning, and I 
will give the list to you. Get my lawyer to draw up my 
will, and bring it to me and I will sign it tomorrow. Good 
night. I do not feel very well so I will retire. 

Act I — Scene II 
Place — The hallway in Mr. Acton's home. 

Mr. Richmond: I called for a document that Mr. Acton 
was to prepare. 

Butler: I am sorry, sir, that Mr. Acton who went to 
bed immediately after you were here yesterday is dead. 
We found him dead in bed this morning. 

Mr. Richmond: This is dreadful news! He made no 
will and now I am afraid there will be trouble in regard 
to his money. His relatives are selfish people and they 
will quarrel about his money and what they get they will 
misuse. 

(Curtain falls.) 



MODELS FOR DRAMATIC COMPOSITION 121 

Act II — Scene I 
Place — A room in the late Mr. Acton's home. 

Mr. Bond to Mr. Richmond: How much money did the 
old fellow leave? 

Mr. Richmond: Mr. Acton left a little over a million 
dollars. 

The Six Relatives: What ! Only a million dollars. 

Mr. Bond: You were his bookkeeper. If there are only 
a million dollars left, you must have taken a lot of his 
fortune for yourself. We will have the books and papers 
examined and if we find anything wrong we will put you 
in jail. 

Mr. Richmond: I am an honest man. Mr. Acton had 
some large losses. 

Mr, Bond: Some large losses, had he! We will find 
out how he had large losses. I suspect that you know how 
his losses came. You look like one that spent more money 
than his salary. 

The Other Five Relatives: Yes, he has a bad look. He 
does not look honest. I would not trust him. We will 
get a lawyer after him. He will be made to pay back what 
he took. (Each of the other five speaks one after the 
other.) 

Mr. Richmond: I never took any money wrongfully 
from Mr. Acton. A year ago he gave me a sum of money 
in addition to my salary on account of long service for 
him. He was a just man. You will find the amount in 
the books. 

Mr. Bond: But have you any authority to show for tak- 
ing the money? 

Mr. Richmond: No! Mr. Acton told me how to enter 
the money in the books when he gave it to me. 



122 TEACHERS HANDBOOK 

Mr. Bond: A pretty story indeed ! 

The Five Together: Yes! A pretty story indeed. 

Mr. Bond: The court will deal with you. 

Mr. Richmond: I am an honest man. 

Mr. Bond: We will let the court settle that. 

The Five: Yes ! We will let the court settle that. 

Mr. Bond: Now you will leave us to divide the money. 
(Mr. Richmond goes out.) 

Mr. Bond: As I am his nearest relative, I want one 
half his money. 

The Others: No ! You won't get half. 

Mr. Bond: I demand half. 

The Rest: You won't get it! 

Mr. Bond: You will see that I will. 

The Rest: We will see that you won't. 

One of the Five: I say let him take the house and three 
hundred thousand dollars and we divide the rest equally. 

The Other Five: That is fair. If he does not take that 
we will go to law. 

The Other One: Now you take what I offered or we 
go to law against you. 

Mr. Bond: Well, I will take the house and three hun- 
dred thousand dollars. 

(Curtain falls.) 

Act III— Scene I 

Place — Mr. Bond's home, formerly Mr. Acton's, now 
extravagantly furnished. 

Mr. Bond: My friends on behalf of my wife, my 
daughters and myself I welcome you to our home tonight. 
Unlike the former owner, we intend to open our house 
often to show hospitality to our friends. (The gathering 



MODELS FOR DRAMATIC COMPOSITION 123 

clap their hands and one of the men says:) We thank you 
very heartily for inviting us to your mansion. (Enter 
George Acton with Lucy Richmond on his arm followed 
by Mr. and Mrs. Richmond.) 

Mr. Bond: (Aside to his wife.) The Richmonds have 
complained to him about the lawsuit and so he has brought 
them here in their shabby clothes. It is disgraceful. 

(Then to George.) I know why you have come with 
these people. It is probably on account of the lawsuit I 
have brought against him. I am very sorry that any differ- 
ence or ill feeling exists between us, but I shall call off the 
law-suit and I will pay him the money I owe him at once. 
Call my bookkeeper. 

George: Do not bother about that. The matter now 
concerns me, not you, and when you and my other relatives 
pay back to me my father's money I will see that Mr. 
Richmond is properly treated and his money restored to 
him. We have just come from the grave where my father 
is buried ; my dear, my deeply loved father. 

Mr. Bond: I am so sorry the stone I wished has not 
been erected at your father's grave. 

Miss Bond: Yes! We are sorry the stone cutter has 
disappointed us. Only two days ago I visited the grave 
and thought how beautiful a monument of Carrara marble 
would look. 

George : If you were there two days ago, you must have 
seen that the grave has a beautiful memorial in honor of 
my father put there by loving hands, although those who 
had received my father's money had selfishly neglected 
to pay any respect to his memory. 

Miss Bond: I was — I don't know — I must have — 

George: It is clear you never visited the grave for a 
beautiful memorial has been there for months. I am 



124 TEACHERS HANDBOOK 

ashamed of you, Mr. Bond. You took my father's fine 
home and a large part of his money. Neither you nor 
any one of those who were made wealthy by my father's 
death thought of honoring his memory. Let me tell you 
now that you must leave my father's house, and you and 
all others who took his money will have to return it to 
me. You do not deserve to be allowed to keep any of it. 
You may now leave my home and remember you will not 
be allowed to keep anything you bought with my father's 
money, unless you pay me for it. 

To those who are here and who for years showed love 
and respect for my father and for me, I give you a hearty 
welcome to remain and to them I have great pleasure in 
introducing Miss Lucy Eichmond who has promised to be 
my wife and whose father and mother have kindly accepted 
me as their son. It was Lucy Eichmond who planted a 
beautiful flower at my father's neglected grave, believing 
that I had been drowned. I think more of that flower than 
of all the riches in the world. 

You will be glad to know I floated away from the 
wrecked ship on a large plank and was picked up by an 
outgoing ship and was unable to return until today. As 
the rightful owner of this house I ask you to remain and 
spend the evening with Mr. and Mrs. Eichmond, their 
daughter, and myself. 



DIRECTIONS FOR CONDUCTING A TEST 
DIRECTIONS FOR CONDUCTING A TEST 



125 



The teacher should see that each pupil is supplied with 
a sheet of paper and a pencil. A satisfactory form is shown 
below : 



Name Date 

Grade Test No 

Time 



Answer 
1 


Value 


2 




3 




4 




5 




6 




7 




8 




9 




10 




11 




12 





When reading is to begin the teacher will indicate the 
page and direct the pupils to begin reading, all at the same 
time. She will explain that, as the pupils read, she will 
indicate the time every quarter of a minute on the board 
and that the pupil should record on his sheet in the space 
marked "Time" the time he finds written on the board the 
moment he finishes reading the selection. 

When a pupil has finished the reading he should close 
the book and when all have finished, the teacher should 



126 TEACHERS HANDBOOK 

then write on the board a series of well chosen questions 
covering the points of the story, the pupils numbering their 
answers as the questions are numbered. It is not neces- 
sary for the children to write the questions. A reason- 
able time should be allowed for the pupils to answer one 
question before another is written; no pupil should be 
allowed to consume so much time as to delay the exercise. 
The answers need not be in sentences. If the teacher 
so desires, she may allow the pupils to write at her dicta- 
tion the relative value she has previously placed upon each 
question, on the score of 100, in the column marked 
"Value." 

The completed sheets should be collected, scored and 
used as a basis for determining the progress of the members 
of the class throughout the year. 

These general directions for the methods of conducting 
both speed and comprehension tests may be followed in each 
Test Lesson through Book One, Book Two and Book Three. 



TEST LESSON— BOOK ONE 

Pages 47-50. 

Speed Test. Conducted in accordance with directions 
given above. 

Comprehension Test. To be given immediately follow- 
ing the Speed Test without further reference to the book. 

Questions Evaluated Value 

1. Where was the house described in this story 
located ? 3 

2. To whom did it belong ? 4 



TEST LESSON— BOOK TWO 127 

3. How many children were there ? 5 

4. What were their names ? 7 

5. What did the son wish to do when he grew up ? 8 

6. What did the father have to say about it ? . . . 8 

7. What was the "unwelcome news" ? 15 

8. What did Casper suggest when he learned of 
the trouble ? 10 

9. What did Constance say ? 5 

10. How did this make Captain Walters feel? 10 

11. What did Captain Walters then decide to do? 15 

12. Who was the visitor who arrived just as Cap- 
tain Walters was leaving the veranda ?....... 10 



TEST LESSON— BOOK TWO 

Pages 45-47. 

Speed Test. To be given following the suggestions 
previously outlined. 

Comprehension Test. To be conducted immediately 
after the Speed Test without further reference to the book. 

Questions Evaluated Value 

1. Who was Johann Schmidt? 4 

2. Where did he live? 3 

3. Who was in his family ? 3 

4. What kind of a girl was she ? 10 

5. What lesson did her father teach using the 
violet as an example ? 15 

6. What lesson did her father teach using the lily 

as an example ? 15 

7. What was Johann Schmidt's greatest pride?. . 10 



128 TEACHERS HANDBOOK 

8. Why did Marie go to the woods one May morn- 
ing? 5 

9. What did she bring back with her ? . 5 

10. Whom did she meet as she was returning?. . . 5 

11. What did they say? 10 

12. What did Marie reply? 5 

13. What did Amelia finally request ? 10 

TEST LESSON— BOOK THREE 

Pages 27-29. 

Speed Test. Conducted in accordance with directions 
given above. 

Comprehension Test. To be given immediately follow- 
ing the Speed Test. 

Questions Evaluated Value 

1. Where had Antonio been and where was he 
going ? 5 

2. What kind of a day was it and at what time 

of year ? 5 

3. What kind of parents did Antonio have? 10 

4. What were they doing for him ? 10 

5. How did he show his appreciation? 10 

6. Whom did Antonio meet ? 5 

7. What were they, where were they from and 
what were they doing ? 10 

8. What did they do to Antonio ? 5 

9. What did Antonio do ? 5 

10. Who were the other prisoners? 15 

11. Who was saddest of all? Why? 10 

12. What influence did Antonio have on the other 
prisoners ? 5 

13. What did they all finally do? 5 



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